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Digitized  by  the  Internet  Archive 

in  2011  with  funding  from 

Research  Library,  The  Getty  Research  Institute 


http://www.archive.org/details/beautifulhousessOOgibs 


BEAUTIFUL    HOUSES 


A  Study  in  House-building 


FOREIGN  EXAMPLES  IN  DOMESTIC  AR- 
CHITECTURE -  -  A  COLLECTION  OF 
AMERICAN  HOUSE  PLANS  —  MATERIALS 
AND  DETAILS  FOR  THE  ARTISTIC 
HOUSE-BUILDER   -  -   THE      ARCHITECT 


BY 

LOUIS    H.  GIBSON,   Architect 

Author  of  "  Convenient   Houses  ' 


NEW    YORK:     46    East    14TH    Street 

THOMAS    Y.    CROWELL    &    COMPANY 

BOSTON:     100   Purchase   Street 


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Copy, 
By  Thomas   V.    Crowell   &    Company 


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BOSTON 


PREFACE. 


ART,  as  applied  to  homes,  furniture,  the  utensils  of 
life,  —  in  a  word,  the  democratic  art, — joins  hands 
with    the    exclusive    art    of  the    easel. 

For  the  sake  of  clearness  and  system,  this  book  is 
distinctly  divided  into  sections.  The  first,  Hoiese-buildiuo- 
and  Art,  shows  that  all  building  may  be  artistic,  that 
there  is  no  good  reason  for  ugliness,  that  it  costs  no 
more  to  make  an  artistic  detail  than  to  make  an  ugly 
one.  There  need  be  no  more  material  and  labor  in  one 
than  in  the  other.  It  is  a  question  of  direction  by  a 
trained    artist. 

Examples  of  The  World's  Homes  are  selected  from 
various  countries  to  show  how  each  region  has  worked  out 
its  own  solution  of  the  problem  of  domestic  art.  The 
work  of  France,  England,  Germany,  Switzerland,  and  our 
own  country  during  the  Old  Colonial  period  has  been 
widely  different  as  to  method,  and  reasonably  uniform  as 
to  success.  These  examples  indicate  that  we  may  hope 
to  do  our  own  work  in  our  own  way,  preserve  our  own 
character,   and    develop    a    successful   American   architecture. 

The  section  under  headings  of  Some  House  Plans  and 
Materials  and  Details  is  an  attempt  at  the  practical 
working    out    of  the    general    ideas    involved    in    this    book. 


228078 


iv  PREFACE. 

The  last  division  is  addressed  to  the  client.  It  explains 
the  artistic  and  business  sides  of  the  profession.  At  the 
same  time  it  shows  what  the  client  may  do  to  assist  in 
a   better    architectural    development. 

In  a  former  volume  the  subject  of  "Convenient  Houses" 
was    treated,    and    a    large    number    of    small    plans    given. 

The  various  works  from  which  illustrations  have  been 
taken  are  indicated  in  the  text.  With  one  exception  I 
have  been  able  to  credit  the  work  of  other  architects 
whose  work  I  have  used.  My  efforts  to  obtain  the  name 
of  the  architect  of  the  house  designated  "  In  California " 
were    unsuccessful. 

The  cover  of  this  book  was  designed  by  my  brother, 
David  Gibson,  who  has  also  helped  me  in  the  prepara- 
tion   of  the    illustrations. 

I  am  indebted  to  my  friend  William  Forsyth,  the 
artist,    for    criticism    and    suggestion. 

Mr.  Louis  H.  Sullivan,  the  architect,  whose  work  I 
hold  in  great  esteem,  furnished  me  a  number  of  the 
decorative    designs    used    for    tail-pieces. 

My  wife  has  edited  and  criticised  the  manuscript,  and 
during  the  five  years  spent  in  the  selection  of  material, 
has    given    her    invaluable    help. 

LOUIS    H.    GIBSON. 

Indianapolis,   Ind.,   May,    1895. 


CONTENTS. 


HOUSE-BUILDING    AN  ART. 

CHAPTER    I. 

UGLY     HOUSES. UNEDUCATED     ARCHITECTS. THE    ARTIST    HOUSE-BUILDER. 

THE    MOST  EXPENSIVE    HOUSES  NOT    NECESSARILY  THE    MOST   ARTISTIC. 

THE    ARTISTIC    FAILURE    OF    GOVERNMENT    BUILDINGS. COST    NEVER 

MEASURES    THE  ARTISTIC. ORNAMENT   AND    LABOR. ARTISTIC  DETAILS 

COST      NO      MORE      THAN     UGLY     ONES. COMMERCIAL     VALUE     OF     THE 

ARTISTIC 


CHAPTER    II. 

DEVELOPMENT     OF     ART      IN     BUILDING.  THE      PRIMITIVE     HOUSE.  FIRST 

PRINCIPLES.  THE      GREEK     TEMPLE     AND     THE      INDIAN      HUT. THE 

FUNCTIONAL    AND    THE    ARTISTIC. ROMAN    METHODS     OF     BUILDING. 

ACADEMIC    ARCHITECTURE. THE    OLD    ROMAN   AND    THE  OLD  COLONIAL. 

—  ROMANESQUE  ARCHITECTURE. GOTHIC  ARCHITECTURE. EMOTIONAL 

EXPRESSION     IN     BUILDING.  DECLINE     OF      THE     GOTHIC.  THE     RE- 
NAISSANCE.  MODERN     ARCHITECTURE    OF    EUROPE. CHARACTERISTICS 

OF       MODERN       AMERICAN        ARCHITECTURE.  AMERICAN       STRUCTURAL 

FORMS.  AMERICAN     METHODS     OF      LIVING       AS     RELATED     TO     ARCHI- 
TECTURE.  RELATION     OF     PRECEDENT     TO     FUTURE     DEVELOPMENT.       .  17 


vi  CONTENTS. 

THE    WORLD'S   HOMES. 
CHAPTER    III. 

PAGE 

FRENCH       DOMESTIC      ARCHITECTURE. NATIONAL      BUILDING       METHODS. 

TWELFTH-CENTURY    BUILDING. THE    MUSICIAN'S    HOUSE    AT    RHEIMS. — 

FLOOR       PLANS       OF       DOMESTIC       STRUCTURES.   PICTURESQUE        STAIR 

TOWERS.  THE      HOUSE      OK     JACQUES      COEUR. AN       EARLY      FARM- 
HOUSE.  HALF-TIMBER     ARCHITECTURE    OF     THE    TWELFTH     CENTURY. 

LATER     DEVELOPMENTS     IN  WOODEN    ARCHITECTURE. OUR    USE   OF 

FRENCH    EXAMPLES.  —  FROM    L1SSIEUX 32 

CHAPTER    IV. 

BRITTANY.  —  THE     PAINTER'S     COUNTRY.  FEW      OFFENSIVE      BUILDINGS.  

CHARACTERISTICS  OF   THE  PEOPLE. THE    ARCHITECTURE,  THE    SCENERY, 

AND     THE     PEOPLE     HARMONIOUS. BRETON     COSTUMES. FURNITURE. 

EX  I  RAY A(  iANTLY     PICTURESQUE. MALESTROIT.  — -  A     CHIMNEY-PIECE 

AT     MORLAIX. BEDS ...  48 

CHAPTER    V. 

FRENCH      CHATEAUX. MILITARY     STRONGHOLDS.  PRINCIPLES     GOVERNING 

THEIR     CONSTRUCTION.  HISTORY.  —  PLAN    OF     COURCY.  MILITARY 

BUILDING    AND    ART.  —  A    BIRD'S-EYE    VIEW.  —  CHATEAU    OF    JOSSELIN. 

INTERIOR      VIEWS.  PIERREFONDS.  CHAUMONT.  A      VIEW      OF 

CHENONCEAU.  —  AZAY— LE— RIDEAU. THE    SOCIAL    CHATEAUX        ...  60 

CHAPTER   VI. 

ENGLISH      DOMESTIC      ARCHITECTURE. RELATION     OF      MODERN     TO     EARLY 

WORK.  —  SELECTIONS        FROM      HAMERTON'S        PORTFOLIO.  DOMESTIC 

BUILDINGS      OF      THE       SIXTEENTH      AND      SEVENTEENTH      CENTURIES.  

PICTURESQUE    DETAILS.  FR'JM    THE    GOTHIC    TO   THE    RENAISSANCE.  — 

SIX      GABLES.  —  DECORATIVE     WOODWORK.  —  PUGIN'S      GABLES.  THE 

SPIRIT    OF    DOMESTICITY.  —  WALTER    SCOTT'S    HOME. ONE   OF    NORMAN 

SHAW'S    INTERIORS 90 


CONTENTS.  vii 

CHAPTER    VII. 

PAGE 

MODERN     ARCHITECTURE     OF     GERMANY.  DRESDEN     AXD    THE    ROCOCO.  

NORTH     OF      THE      HARTZ       MOUNTAINS.  THE      OLD       ROSE-TREE       AT 

H1LDESHEIM.  AN      ARCHITECTURE       FL'LL      OF       FIXE      SENTIMENT.  

IMAGINATIVE    ARCHITECTURE.  TILE     ROOFS.  CLEAN     LAVEMENTS.  

DOORWAYS. NATURAL    METHODS Io8 

CHAPTER    VIII. 

SWISS     ARCHITECTURE.  RELATION     OF    SCENERY    TO    A    NATIONS     BUILDING. 

—   NATURAL      DOMESTIC     EXPRESSIONS.  ARTISTIC     FORMS.  NATURAL 

COLORING.  VARYING    METHODS.  CHARACTERISTIC    ILLUSTRATIONS       .  1 23 

CHAPTER    IX. 

OLD     COLONIAL     ARCHITECTURE. A     CLASSIC     DEVELOPMENT. CHARACTER- 
ISTIC     NEW      ENGLAND      ARCHITECTURE.  LUXURIOUS      CHARACTER      OF 

THE    OLD    COLONIAL    IN    THE    SOUTH. THE    BEST  AMERICAN   EXPRESSION 

OF     DOMESTICITY.  ILLUSTRATIONS 127 


SOME    HOUSE    PLANS. 
CHAPTER   X. 

A     BRICK     HOUSE     WITH     A     STONE     FOUNDATION.  —  FOR     A     NARROW     LOT. 

THE     PROBLEM     OF     LIGHTING. A     NEW     CLOSET. RELATION    OF     THE 

EXTERIOR    TO    THE    LOCATION.  THE    DORMERS. THE     INSIDE     FINISH. 

—  MANTELS 135 

CHAPTER    XI. 

A    CENTRE-HALL    PLAN.  FRAME     BUILDING.  A    LITTLE    ROOM    FOR   CLOAKS 

AND       WRAPS.  DECORATIVE       FORMS.  INTERIOR        PHOTOGRAPHS. 

EXTERNAL     DETAILS.  GREEK     MOULDINGS 1 44 


VI 11  CONTENTS. 

CHAPTER     XII. 

PAGE 

A    WIDE    CENTRAL    HALL    OPEN    AT   EACH    END. LARGE    ROOMS. A    PICTUR- 
ESQUE   STAIRWAY.  COLOR     SCHEMES    IX     DECORATION.  DESCRIPTION 

OF     FLOOR     PLAN 1 56 

CHAPTER     XIII. 

A     FINE     LOCATION.  A     RIVER     FRONT.  PICTURESQUE     STAIR-HALL.  A 

SMOKING-ROOM     UNDER     THE     BALCONY.  WOOD      CEILING.  —  DINING- 
ROOM     FINISH.  KITCHEN    DETAILS. DOORS    AND     CASINGS.  GREEK 

PROFILES.  THE     LOCATION    PLAN 1 69 

CHAPTER    XIV. 

A     STABLE.  A     WATER-TOWER.  PUMPS  A     FLOOR     PLAN.  INTERIOR 

DETAILS. DRAINAGE     OF      THE     FLOOR     AND     STALLS.  AN     ODORLESS 

MANURE-BIN. STALL     CONSTRUCTION.  THE    MAN'S    ROOM.       ...  I  78 

CHAPTER    XV. 

THE     HOUSEKEEPER     AND    THE    FLOOR     PLAN. THE    SOBER-MINDED    CLIENT. 

THE     ONE     WITH     PICTURESQUE     TASTES.  SOUTH     GERMAN     ARCHI- 
TECTURE    184 

CHAPTER    XVI. 

IN     A     FOREST. SENTIMENT     WHICH     CONTROLS     THE     EXTERIOR. A     WIDE 

HALL. THE    MUSIC-ROOM. THE    END    OF    THE    DINING-ROOM.  THE 

SIDEBOARD. FLUSH-PANEL     DOORS.  A      SCREEN.  NATURAL-WOOD 

FINISH     FOR     THE     EXTERIOR. ROMAN     BRICK. BYZANTINE     DETAIL     .  190 

CHAPTER   XVII. 

A    LARGE    NUMBER    OF    ROOMS. BRICK    AND    STONE. RENAISSANCE    FORMS. 

PICTURESQUE    ROOF. THE    GABLES 200 


CONTENTS.  ix 

CHAPTER    XVIII. 

PAGE 

ST0N1      HOUSES.  A    HOUSE    FOR    A     WIDE     LOT.  A     PLAN     WITH     LIVING- 
ROOMS    TO    THE    SOUTH.  THE     FRONT.  FIFTEENTH     CENTURY       .       .  205 

CHAPTER    XIX. 

BUILDING    FOR    INVESTMENT.  DEVELOPMENT    OF    AN    INVESTMENT    BUILDING. 

IMPROVEMENT       OF      RENTAL      STRUCTURES.  RAPID      TRANSIT      AND 

RENTAL    PROPERTY.  ONE— ROOM    APARTMENTS    IN    GLASGOW.  LASTING 

QUALITIES       OF       FRAME        HOUSES.  THE      REPAIR        ACCOUNT.  THE 

DOUBLE      H<  USE.  BRICK      HOUSES.  A       SMALL      FRAME       HOUSE.  

RANGES. THE    BETTER    CLASS   OF    TENANTS.  ROOMS    OYER  STORES. 

FRENCH     AND     ENGLISH     FLATS.  A     SMALL     KITCHEN 2  11 

CHAPTER    XX. 

PERSONAL     CHARACTER      EXPRESSED     IN     HOUSE-BUILDING.  A      HOUSE     FOR 

THE    BRIGHT,    CHEERY    LITTLE    WOMAN. FOR    THE    EXACT,    DELIBERATE 

BUSINESS    MAN.  THE   PICTURESQUE    CHARACTER.  LEGITIMATE    VARI- 
ATION    OF     DESIGN     INFLUENCED    BY    PERSONALITY.  A    MISCELLANEOUS 

COLLECTION     OF     HOUSE     PLANS 231 


MATERIALS    AND    DETAILS. 
CHAPTER    XXL 

SHINGLE-HOUSES.  THE     PROPER     SURROUNDINGS. —  THE     STAINS    OF    TIME. 

ARTIFICIAL     STAIN.  EXAMPLES.   SLATE     WALLS 242 

CHAPTER    XXII. 

FIREPLACES       AND       MANTELS.  HISTORY.  MANTELS       OF       THE       RENAIS- 
SANCE.    DUTCH      MANTELS.  MODERN      MANTELS.  CHARACTER      IN 

MANTELS.  TILE     FACINGS.    —   ONVX     AND     BRICK 253 


CONTENTS. 


CHAPTER    XXIII. 


PAGE 


DOORS.  THE      DEFENSIVE.  HOSPITALITY.  —    MATERIAL.  FOREIGN      EX- 
AMPLES.   DOMESTIC    DOORS 273 

CHAPTER  XXIV. 

STAIRS.   FOREIGN      EXAMPLES.   BRITTANY.  FRANCE.   HOLLAND.    

GERMANY. BROAD     LANDINGS.  OLD     COLONIAL     STAIRWAYS. IRON 

RAILINGS 282 

CHAPTER    XXV. 

FURNITURE. ARCHITECTS'     DESIGNS. SIDEBOARDS. BOOKCASES.  SEATS. 

LOUNGES. SCREENS. GRILLES 293 

CHAPTER    XXVI. 

WALLS    AND    CEILINGS. PUBLIC    JUDGMENT.  THE    MISLEADING     INFLUENCE 

OF     LARGE     EXPENDITURES. PERMANENCY      IN     DECORATION.  WAIL 

PAPERS.  FRESCO.  JUTE.  DENIM.  SILK 302 

CHAPTER    XXVII. 

MATERIALS. KINDS    OF    WOOD. MOULDINGS    IN    WOOD. PLAIN    SURFACES. 

THE     WOOD     SCREEN     AT     AMIENS.   STAINING     OF     WOOD.   WOOD 

FINISHES.  WOOD    FLOORS.  WORKMANSHIP 31O 

CHAPTER    XXVIII. 

THE      ARTIST      BLACKSMITH.  EARLY    WORK.  HINGES.  LOCKS.  NAIL- 
HEADS         31S 

CHAPTER    XXIX. 

GLASS. DECORATIVE    USES.         RECENT    FAILURES    IN    GLASS    WORK. ARTISTS' 

WORK    IN    CLASS.  — SUCCESSFUL   USE   OF   COLOR     ........         329 


CONTENTS.  xi 

CHAPTER    XXX. 

P  VGE 

MACHINERY   AND   THE    ARTS.  SCULPTURE    WORK.  MOULDED     BRICKS.  

COLOR   IN   BRICK 335 


THE    ARCHITECT. 
CHAPTER   XXXI. 

THE      ARCHITECT     AND      THE      HOUSEWIFE.  BUSINESS     AND     THE     ARTS.  — 

COSTS. PROPER    UNDERSTANDING    OF    THE    CLIENT'S    WISHES. PLENTY 

OF   TIME    TO    MAKE    PLANS 


LIST    OF    ILLUSTRATIONS. 


Fig. 

i 

Fig. 

2 

Fig. 

3 

Fig. 

4 

Fig. 

5 

Fig. 

6 

Fig. 

7 

Fig. 

8 

Fig. 

9 

Fig. 

IO 

Fig. 

1 1 

Fig. 

12 

Fig. 

13 

Fig. 

14 

Fig. 

15 

Fig. 

l6 

Fig. 

J7 

Fig. 

iS 

Fig. 

J9 

Fig. 

20 

Fig. 

2  1 

Fig. 

2  2 

Fig. 

23 

Fig. 

24 

Fig. 

25 

Fig. 

26 

Fig. 

27 

Fig. 

2.S 

Fig. 

29 

Tail-piece  . 

Buildings  of  Alaskan  Indians  . 

A  Decorated  Entrance  to  a  Cave  . 

A  Greek  Temple  as  an  Artistic  Structure 

A  Greek  Temple  as  Mere  Building 

A  Roman  Doorway   ..... 

An  (  )ld  Colonial  Doorway 

Houses  at  Cluny,  Twelfth  Century 

The  Musician's  House  at  Rheims,  Thirteenth  Century 

Fourteenth-Century  House 

Floor  Plan       ...... 

House  at  Treves,  Fourteenth  Century   . 

Plan  of  Jacques  Coeur's  House  at  Bourges 

Bird's-Eye  View   of   Jacques   Coeur's   House,   Fifteenth 

Century        .... 
An  Early  Farm-House     . 
A  Twelfth-Century  Half-Timber  House 
Section     ..... 
Framing  Details 
A  Half— Timber  House  at  Lissieux,  Sixteenth  Century 
In  Lissieux        .... 
A  Street  ix  Auray  . 
Ix  Malestroit 
A  Shop  Window  ix  Josselin 
•  Windows  ix  Hotel  des  Voyageurs  at  Morlaix 
Chimney-Piece     ix     House    of     Anne    of     Brittany    at 

Morlaix        ..... 
A  Brittany  Bed        .... 
Plan  of  Chateau  and  Town  of  Courcv 
Plan  of  Chateau  of  Courcy    . 
Bird's-Eye  View  of  Courcy 
Inner  Court,  Courcy 


PAGE 
16 
18 
19 
!9 

20 

21 
24 

33 
34 
35 
35 
36 
37 

38 

39 
40 

41 
42 
43 
45 
5i 
53 
56 
57 

5S 

59 
62 

63 
65 
66 


LIST    OF    ILLUSTRATIONS. 


Fig.  30.  — 
Fig. 
Fig.  1 
Fig.  33. 
Fig.  34. 
Fig.  35. 
Fig.  36. 
Fig.  37. 
Fig.  38. 
Fig.  39. 
Fig.  40. 

Fig.  41. 

Fig.  42. 

Fig.  4; 

Fig.  44. 

Fig.  45. 

Fig.  46. 

Fig.  47- 

Fig.  48. 

Fig.  49. 

Fig.  50. 

Fig.  51. 

Fig.  52. 

Fig.  53. 

Fig.  54. 


Fig.  5 
Fig.  5 
Fig.  5 
Fig.  5 
Fig. 
Fig. 
Fig. 
Fig. 
Fig. 


5- 
6. 

7- 
8. 

59- 
60. 
61. 
62. 
63- 


Fig.  64. 

Fig.  65. 
Fig.  66. 


Exterior  Facade,  Chateau  of  Josselin     . 

Interior   Facade,  Chateau  of  Josselin 

Bedroom,  Chateau  of  Josseijn 

Salon,  Chateau  of  Josselin 

Chateau  of  Pierrefonds  .... 

Chateau  of  Pierrefonds  .... 

Interior  Facade,  Chateau  of  Pierrefonds 

Bedroom,  Chateau  of  Chaumont 

Bedroom,  Chateau  of  Chaumont 

Chateau  of  Chenonceau,  River  Facade   . 

Chateau  of  Azay-le-Rideau     . 

Tail-piece  —  A  Bit  of  Decoration   . 

Kentish  Hall,  Fifteenth  Century  . 

A  Seventeenth-Century  House  at  Headcorn 

A  Carved  Spandrel  ..... 

A  House  in  Sussex   ..... 

The  White   Lion  —  Crainbrook 

House  at  Bittenden,  Seventeenth  Century 

Ford's  Hospital,  Sixteenth  Century 

Gable,  Ford's  Hospital    .... 

Bond's  Hospital,  Early  Sixteenth  Century 

Gable,  Bond's  Hospital    . 

Gable,  Bond's  Hospital    . 

A  Coventry  Gable  . 

A  Coventry  Gable   . 

A  Modern  English  Interior    . 

Tail-piece  —  A  Decorative  Motive 

Butchers'  Guild  House,  Hildesheim 

A  Detail  of  Butchers'  Guild  House 

A  Carved  Doorway  . 

Decorated  Panel 

Carved  Brackets 

Hoi  se  in  Hildesheim 

Overhanging  Walls  . 

A  Corner  .... 

A  Doorway  of  Carved  Wood   . 

Tail— piece         .... 

A  Modern   South   German   House   in  the   Si 

Sixii.iNi  11  Century 
House  at  Meiningen 
Holm:  ai    Meiningen 


LIST    OF    ILLUSTRATIOXS. 


FlG. 

67. 

Fig. 

68. 

Fig. 

69. 

Fk  ;. 

70. 

Fig. 

7i- 

Fig. 

72. 

Fk;. 

73- 

Fig. 

74- 

Fig. 

75- 

Fig. 

76. 

Fig. 

77- 

Fig. 

78. 

Fig. 

79- 

Fig. 

80. 

Fk;. 

Si. 

Fig. 

82. 

Fk;. 

S3- 

Fig. 

84. 

Fig. 

§5- 

Fig. 

86. 

Fig. 

87. 

Fig. 

88. 

Fig. 

89. 

Fig. 

90. 

Fig. 

91. 

Fk;. 

92. 

Fk;. 

93- 

Fig. 

94. 

Fig. 

95- 

Fig. 

96. 

Fig. 

97- 

Fk  ;. 

98. 

Fk;. 

99. 

Fig. 

100. 

Fig. 

101. 

Fig. 

102. 

Fig. 

103. 

Fig. 

104. 

Fig. 

105. 

Fig. 

106. 

Elevatk  IN 

Floor  Plan     . 

Doorway 

Doorway  between  Parlors 

A  Modern  Example 

A  Brick  House 

First  Story     . 

Second  Story 

Looking  from  the  Parlor 

The  Sitting-Room   Mantel 

Dressixg-Room  Closet    . 

Closet  with  Doors  Closed 

Stair  Window 

Doors  ix  this  House 

Doors  ix  this  House 

First  St<  iry     . 

Secoxd  Story 

A  Frame  House 

Lookixg  from  Parlor  to  Sitting-Room 

Looking  into  Stair  Hall 

From  Parlor  to  Stair  Hall 

Sideboard 

Parlor  Mantel 

A  Bedroom   Mantel 

■  A  Moulded  Baxd    . 
Wall  Covering; 
Sitting-Room  Window 
Tail— piece 
Front  Elevation  of  a  Frame  House 
Side  Elevation  of  a  Frame  House 

A  Dormer  Window 

Porch  Details 

First-Story  String  Course 

G  irnice  .... 

First  Story     . 

Si  o  ind  Story  . 

Stairway 

Hall  Mam el 

A  Tile  Mantel 

A  Tile  Mantel 

■  Door  and  Details  . 


PAGE 

!3° 

130 
130 

132 
*33 

-35 
136 
136 

'37 
138 
i39 
139 
142 

143 

143 

144 

145 
146 

i47 
148 
149 
150 
152 
152 
153 
153 
154 
155 
i57 
158 

!59 
160 
161 
162 
163 
163 
164 
165 
165 
166 
166 


LIST    OF    ILLUSTRATIONS. 


Fig.   107. 


Fig.  i 

08. 

Fig.   1 

09. 

Fig.   ] 

10. 

Fig.  i 

1 1. 

Fig.   i 

1 2. 

Fig.   1 

13- 

Fig.  i 

14. 

Fig.   i 

T5- 

Fig.   ] 

16. 

Fig.  i 

T7- 

Fig.  i 

iX. 

Fig.  ] 

19. 

Fig.   i 

20. 

Fig.  i 

21. 

Fig.   i 

22. 

Fig. 

23- 

Fig. 

24. 

Fig.  i 

25- 

Fig. 

26. 

Fig.  i 

[27. 

Fig.   i 

28. 

Fig. 

[29. 

Fig.  i 

3°- 

Fig. 

31- 

Fig. 

32- 

Fig. 

33' 

Fig.   ] 

34- 

Fig. 

[35- 

Fig. 

r36. 

Fig.  ] 

^37- 

Fig. 

38. 

Fig. 

39- 

Fig. 

40. 

Fig. 

141. 

Fig. 

[42. 

Fig. 

43- 

Fig. 

44- 

Fig. 

C45- 

Fig. 

[46. 

Inside  Details 
Tail— piece 
First-Floor  Plan- 
Second  Story 
Third— Floor  Plan 
Exterior 
Location  Plan- 
Hall  Mantel 
Dining— Room  Mani 
End  of  Library 
Stairway 

Kitchen  Sink  and  Tables 
A  Door  . 
Barn,  from  Rear 
Barn,  from  Fr< >x'i 
Barn,   First  Story 
Barn,  Second  Story 

A    SCREEN 

First  Story     . 

■  Sf.cond  Story 
Front  Elevation 
Front  Elevation 
Fr<  int  Elevatk  in 
First  Story     . 
Second  Story 
Stairway 

Plan  of  Stairway 
Front  Elevatk  in 

■  Side  Elevation 
First  Story  . 
Second  Story 

Lookino  into  Alcove  from  H 
Window-Skat  in  Music-Room 

•  Screen  between  Hall  and  Music-Room 
End  of  Dining— Ro  >m 

-  I  )oor  and  Casino 

Man  ill   . 

Mantel  . 
Tail-pieck 

•  First  Story     . 

■  Front  Elevation 


LIST    OF    ILLUSTRATIONS. 


E47- 
[48. 

[49. 
5°- 
5i- 

O2- 

53- 

54- 
55> 
;6. 

■57- 

58. 

59- 
60. 

:6i. 

[62. 

63- 
:64. 
;65. 
[66. 
[67. 
[68. 

69. 

70. 
7i- 
7  2- 
73- 
74- 
75- 
76. 

7  7- 
78. 

79- 
[80. 

:8i. 
82. 

83- 
[84. 

:85. 


-  Side  Elevation* 

-  First  Storv     . 

-  Second  Storv 

-  Front  Elevation 

-  First  Storv     . 

-  Second  Story 

-  Fri  >nt  Elevation 
Tail-piece  —  A  Bit  of  Decoration 

■  Floor  Plan     . 
-Range  and  Mantel 

-  First  Story     . 

-  Second  Story 

-  Third  Story    . 

-  Exterior 
First  Story    . 

-  Second  Story 

-  First  Storv     . 

■  Seo  >nd  Story 
■Third  Story    . 

■  Two  Double  Houses 

■  Parlor    . 

-  Sitting-Room  and  Stair-Hall 

•  A  Store  Building    . 

•  Living—Rooms  over  Store 
Tail-piece  —  Decorative  Motive 

■  A  Perspective  Sketch 
First  Floor    . 
Second  Floor 
Front 
Side 

First  Floor    . 
Second  Floor 
First  Story    . 
Second  Story 
Front  Elevation 
Front  Elevation 
Side  Elevation 
Old  Roses  and  Hollyhocks 
Old  Connecticut 
One  of  Richardson's  Houses 
A  City  Picture 


PAGE 

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2IO 
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246 


LIST    OF   ILLUSTRATIONS. 


Fig. 

1S6. 

Fig. 

187. 

Fig. 

188. 

Fig. 

189. 

Fig. 

190. 

Fig. 

191. 

Fig. 

192. 

Fig. 

193- 

Fig. 

1  94- 

Fig. 

195- 

Fig. 

196. 

Fig. 

197. 

Fig. 

198. 

Fig. 

199. 

Fig. 

200. 

Fig, 

201. 

Fig. 

202. 

Fig. 

203. 

Fig. 

204. 

Fig. 

205. 

Fig. 

206. 

Fig. 

207. 

Fig. 

20S 

Fig. 

209. 

Fig. 

210. 

Fig. 

211. 

Fig. 

2  1  2 . 

Fig. 

->.v 

Fig. 

214. 

Fig. 

-^5- 

Fig. 

2 16. 

Fig. 

2 1 7. 

Fig. 

218. 

Fig. 

2 19 

Fig. 

220. 

Fig. 

221. 

Fig. 

222. 

Fig. 

223 

Fig. 

224. 

Fig. 

225. 

Fig. 

226. 

Sli  DIES     ..... 

A  Seaside  Picture  . 
In  California 
Near  Philadelphia 
A  Thirteenth— Century  Kitchen 
Ax  Early  French  Fireplace  . 
Chateau  of  Courcy 
■Fireplace,  Chateau  of  Pierref<>xi>s 
Fireplace,  Chateau  at  Blois  . 

•  FiRF.pi  \n:  i\  Cluny  Museum  . 
Fireplace  int  Museum  at  Amsterdam 
Fireplace  in  Museum  at  Amsterdam 
A  Hall  Mantel 
In  the  Reception-Room 
Panels  ..... 
Panels  ..... 
(  )pen  Screen  .... 

•  A  Front  Door 
Front  Dour    . 

Front  Door  .... 
Front  Door  .... 
A  Brittany  Door  . 
Decorated  with  Nail-Heads  . 
Doors  ..... 
Doors  ..... 
Doors  ..... 
Doors  ..... 
Doors  ..... 
Doors  ..... 
A  Brittany  Stairway 
The  Landing  .... 

■  At  Nantes       .... 
A  (  I-erman  Stairway 
In  the  Museum  at  Amsterdam 
Book  Shelves 
Brick  Mantel 

Window— Seat  and  Bookcases  . 
A   Coma    Si  AT 
A  Seat  at  Pierrefonds  . 
A  Couch  .... 

A   Ki  cess]  i'  Window 


page 

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248 
249 

251 

254 

255 
256 

257 
259 
261 
263 

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267 
26S 

273 
274 

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276 

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2S1 
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294 

295 
296 
297 
298 
299 


LIST    OF   ILLUSTRATIONS. 


Fk 

.  227 

Fig 

.  22S 

Fig 

.  229. 

Fig 

230. 

Fig 

23I- 

Fig. 

-3-- 

Fii  ;. 

2  3  3  • 

Fk;. 

234- 

Fig. 

235- 

Fig. 

236. 

Fro. 

237. 

Fk  ;. 

23S. 

Fii  ;. 

239-- 

Fig. 

240.  - 

Fig. 

241.  - 

Fig. 

242.  - 

Fig. 

243-~ 

Fig. 

244.- 

Fig. 

245-- 

Fig. 

246.  - 

Fig. 

247-~ 

Fig.  . 

?4s.- 

Fig.  249.  — 

Fig.  2 

50.- 

Fig.  2 

5i-  - 

Tail-piece  — A  Decorative  Motive 
.—A  Twelfth-Century  Grille 
•  —  Of  the  Thirteenth  Century 
.  —  Common  ix  the  Twelfth  Century 

—  The  Eleventh  Century 

—  Twelfth-Century  Hinge 

—  From  Notre  Dame,  of  Paris," Thirte 

—  Of  the  Fourteenth  Century 

—  A  Twelfth-Century  Lock 
-A  Thirteenth-Century  Lock 
-A  Fourteenth-Century  Lock 

—  Of  the  Fifteenth  Century 

—  Nail-Head 

-  Xail-Head 
-Nail-Head 

-  Xail-Head 
-Nail-Head 
-Nail-Head 

-  Leaded  Glass 

-  Leaded  Glass 

-  Leaded  Gi  iss 

-  Leaded  Glass 
■  Leaded  Gi  lss 

Leaded  Glass 

Leaded  Glass 

A  Sixteenth-Century  Doorway 

Tail-piece  — A  Decorative  Motive 


h  Century 


PAGE 

317 
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3  2  2 
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33o 

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333 

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340 


BEAUTIFUL    HOUSES. 


HOUSE-BUILDING    AN    ART. 

CHAPTER    I. 

UGLY     HOUSES. UNEDUCATED     ARCHITECTS. THE    ARTIST    HOUSE-BUILDER. THE 

MOST  EXPENSIVE    HOUSES  NOT    NECESSARILY  THE    MOST    ARTISTIC. THE  ARTISTIC 

FAILURE  OF  GOVERNMENT  BUILDINGS.  COST  NEVER  MEASURES    THE  ARTISTIC. 

ORNAMENT      AND      LABOR. ARTISTIC      DETAILS      COST      NO      MORE      THAN     UGLY 

ONES. COMMERCIAL     VALUE     OF     THE     ARTISTIC. 

MOST  houses  are  ugly.  One  need  only  look  at  photo- 
graphs or  pictures  of  the  principal  streets  of  our 
cities  and  towns  to  see  that  this  is  true;  the  majority  of 
the  residences  are  commonplace,  crude  and  pretentious.  It 
is  rare,  indeed,  that  the  most  expensive  house  in  a  com- 
munity is  the  most  attractive.  Good  taste  and  large  sums 
of  money  are  rarely  found  together. 

Our  failure  to  make  beautiful  houses  is  certainlv  through 
neither  lack  of  money  nor  lack  of  desire.  Nearly  even- 
one  who  builds  wishes  to  make  an  interesting  structure. 
Few  succeed. 

We  of  America  spend  more  money  in  building  than  any 
other  nation,  and  the  results  are  less  satisfactory.  We  have 
only  to  consider  the  conditions  in  nations  which  do  more 
artistic    building    to    appreciate    the    reason    for  our    lack    of 

9 


io  BEAUTIFUL    HOUSES. 

success.  Our  architects  are  not  so  well  educated,  nor  are 
our  people  so  appreciative.  The  community  or  the  individual 
that  builds  must  have  a  certain  amount  of  artistic  apprecia- 
tion, and  the  architect  must  have  an  artistic  training.  These 
two  conditions  are  necessary  to  good  architecture.  An  un- 
educated public  tolerates  the  uneducated  architect,  and  the 
result  is  but  a  slow  development  in  better  things.  The  very 
large  number  of  crude  and  uninteresting  buddings  degrades 
public  taste.  We  are  ambitious,  but  we  are  taught  by 
common   models. 

One  of  good  taste  and  fine  feeling  cannot  hope  to  build 
an  artistic  house,  excepting  with  the  help  of  a  trained  artist. 
No  one  can  lead  his  architect  to  do  better  than  the  archi- 
tect knows.  While  the  best  results  are  reached  through 
artistic  sympathy  on  one  hand,  and  artistic  training  on  the 
other,  it  is  possible  for  one  quite  insensible  to  beautiful 
things  to  build  well  through  the  dominating  influence  of  a 
trained  architect.  However,  a  universal  improvement  in  the 
character  of  our  structures  must  come  through  the  artistic 
advancement   of  both   the  public   and  the  architect. 

This  leads  to  the  statement  that  it  is  not  the  amount  of 
money  used  in  a  building,  but  rather  the  taste  displayed, 
which  decides  its  artistic  qualities.  One  without  the  artistic 
sense  will  generally  do  better  work  with  a  limited  sum  of 
money  than  with  a  more  liberal  allowance.  With  the 
smaller  sum  he  is  not  able  to  express  himself  so  conspic- 
uously. A  large  expenditure  of  money  enables  one  un- 
trained in  things  artistic  to  display  the  real  quality  of  his 
mind  both  through  the  size  and  the  crudeness  of  detail  of 
his  building. 

In    any   of  the    cities    of    our    country    the    traveller    will 


HOUSE-BUILDING    AN   ART.  n 

always  have  the  most  expensive  houses  pointed  out  to  him 
as  the  best.  Such  structures  are  generally  as  crude  as  they 
are  costly.  It  often  happens  that  such  an  one  is  surrounded 
by  great  lawns,  beautiful  drives,  and  attractive  landscapes, 
but  the  house  itself  is  a  blot.  In  New  York  city  the  house 
built  by  W.  H.  Vanderbilt  is  very  costly  and  pretentious. 
However,  it  does  not  rank  high  as  an  architectural  pro- 
duction. There  are  scores  of  houses  in  that  city  which 
cost  a  mere  trifle  as  compared  with  it,  but  which  are  highly 
successful. 

This  idea  may  be  further  illustrated  by  reference  to  well- 
known  public  structures.  The  Grand  Central  Depot  in  New 
York  is  expensive  and  pretentious.  As  an  artistic  production, 
it  is  not  to  be  compared  with  the  Boston  &  Providence 
Station  in  Boston,  or  the  little  stations  built  for  the  Boston 
&  Albany  Road  by  H.  H.  Richardson.  The  government 
buildings  are  generally  inferior  to  the  less  expensive  struct- 
ures built  by  the  State  and  city  governments,  or  bv  private 
corporations.  The  national  government  has  never  built 
anything  to  compare  with  the  City  Hall  in  Albany,  the 
Court  House  in  Pittsburg,  the  Public  Library  in  Boston,  or 
the  great  office  buildings  of  New  York,  Chicago,  or  other 
cities.  The  government  building  at  the  World's  Fair  was 
the  least  satisfactory  of  the  more  important  structures,  We 
may  thus  illustrate  that  with  unlimited  opportunity  the  result 
is  unsatisfactory  for  want  of  artistic  ability. 

The  same  principle  applies  to  all  buildings.  It  has  its 
relation  to  low-cost  houses  as  compared  to  those  of  greater 
expense.  We  can  never  measure  the  artistic  value  by  the 
cost.  Of  two  cottages,  one  costing  twenty-five  hundred  and 
the   other  six    thousand   dollars,  the    latter    may  be  a  failure 


I2  BEAUTIFUL    HOUSES. 

and  the  former  a  success.  It  is  more  a  question  as  to  the 
way  in  which  the  material  and  labor  representing  certain 
values  are  used  than  its  quantity.  Money  gives  many 
people  an  opportunity  to  display  bad  taste. 

There  is  a  firm  impression  in  the  minds  of  the  public 
that  a  house,  in  order  to  be  attractive,  must  have  a  certain 
amount  of  what  is  called  ornamental  work  applied  to  it. 
This  is  generally  separate  and  apart  from  the  structural 
parts.  The  house  is  built  and  the  embellishment  merely 
added.  These  details  are  not  ornamental  excepting  in  name. 
The  plain  surfaces  are  merely  disturbed.  They  are  cut  into 
unusual  forms  without  the  least  display  of  artistic  sense. 
The  different  parts  are  expressive  of  complexity,  but  rarely 
of  beautv.  All  of  these  things  call  for  relatively  large 
expenditures.  There  having  been  no  artistic  guide,  the 
work  is  only  laborious.  Beauty  and  attractiveness  are  en- 
tirely  wanting. 

A  careful  study  of  this  subject  will  develop  the  fact  that 
ugly  houses  are  built  through  a  misdirected  effort  to  make 
them  pretty  rather  than  through  indifference.  The  lack  of 
success  is  the  result  of  untrained  effort.  Houses  are  more 
frequently  ruined  by  spending  too  much  money  than  they 
are  through  not  using  enough.  Under  proper  guidance 
these  expenditures  might  have  been  to  enrich  and  beautify 
them.  As  it  is,  they  have  only  made  them  cruder.  Any 
one  can  see  houses,  large  and  small,  which  would  be  much 
better  from  an  artistic  standpoint  if  the  owner  had  used 
less  money. 

In  this  is  not  to  be  found  an  argument  against  the 
decoration  of  buildings.  It  is  an  argument  against  adding 
ugly   details  to   plain   surfaces.      It   is   intended  to  suggest  that 


I/OUSE-BUILDING    AN   ART.  13 

the  mere  sawing-  of  a  board  into  strange  and  unusual  shapes 
adds  to  the  cost  of  a  house  at  the  same  time  that  it  detracts 
from   its  value. 

This  is  best  understood  when  we  look  at  the  house  in 
detail.  Nearly  all  cornices  represent  a  mere  expenditure 
of  material  and  labor.  The  finish  of  doors  and  windows  is 
simply  complicated.  As  to  gables,  the  effort  is  largely 
directed  to  making  them  unusual.  Porches  are  combinations 
of  crude  parts.  In  truth,  in  most  houses  the  labor  is  entirely 
without  artistic  direction.  The  artistic  builder  —  the  archi- 
tect—  looks  first  to  a  pleasing  outline,  and  instinctively 
selects  that  which  is  relatively  simple.  He  so  adjusts  the 
constructive  forms  as  to  give  pleasing  details.  Where 
there  is  the  opportunity  for  decoration,  the  forms  are  beau- 
tiful in  themselves  and  carefully  studied  in  their  relation 
to  other  parts.  Having  developed  his  outline,  the  different 
details  are  considered  in  their  proper  relation.  In  decor- 
ating a  gable  he  preserves  its  natural  forms  and  outlines. 
If  he  chooses  to  decorate  the  rafters,  he  does  it  in  the  same 
careful,  artistic  spirit  that  a  painter  would  execute  a  very 
important  part  of  a  picture.  The  brackets,  the  mouldings, 
the  windows,  all  show  the  mind  and  the  heart  of  the  artist. 
This  same  high  spirit  pervades  everything — the  doors,  the 
windows,  porches,  balconies.  Each  part  is  considered  in  its 
relation  to  the  whole  and  the  composition.  This  is  the  way 
the  artist  works.  Abundant  means  may  enrich  the  detail, 
or  may  affect  the  character  of  the  outline,  but  the  artist 
shows  his  character  under  an)'  circumstances  ;  there  are  no 
limitations  of  cost  which   will   entirely  suppress  this   spirit. 

It  costs  no  more  money  to  make  a  pretty,  graceful  mould- 
ing than   it  does  to  make  a  clumsy  and  awkward  one.     The 


14  BEAUTIFUL    HOUSES. 

same  machine  and  the  same  power  will  give  an  attractive 
form  as  readily  as  an  ugly  one.  It  is  simply  a  question  of 
training  and  direction  of  mind.  It  costs  no  more  to  cut  a 
pretty  piece  of  scroll  work  than  one  in  which  there  is  no 
thought  of  beauty,  hut  there  must  be  the  trained  hand  to 
direct  it,  to  draw  the  design.  Pleasing  forms  can  be  carved 
at  the    same   cost  as   ugly   ones. 

These  are  matters  of  detail.  We  can  consider  the  dif- 
ferent parts  of  a  house  and  affirm  the  same  truth  with 
respect  to  each  particular  part.  It  is  plain  that  if  in  detail 
it  costs  no  more  to  make  what  is  pretty  than  what  is  ugly, 
in  the  aggregate  it  costs  no  more  to  make  a  pretty  house 
than  an  ugly  one.  It  is  the  mission  of  this  book  to  make 
this   fact  plain. 

Good  design  adds  to  value.  The  artist  directs  the  labor 
and  gives  pleasing  forms  to  the  material.  One  not  trained 
directs  labor  and  gives  to  material  forms  not  pleasing. 
The  former  through  the  same  expenditure  of  material  and 
labor  produces  what  is  more  valuable  than  the  latter.  In 
every  city  there  are  a  large  number  of  buildings  which  are 
worth  very  much  less  than  they  cost.  The  design  is  bad 
and  the  construction  faulty.  These  structures  represent  a 
positive  waste.  The  artist  did  not  direct  the  work;,  hence 
a  loss.  One  may  look  around  him  and  see  two  houses 
which  cost  the  same  sum  of  money,  say  four  thousand 
dollars  One  is  a  mere  building  and  the  other  an  artistic 
production  Each  contains  material  and  labor  which  cost 
four  thousand  dollars.  One  is  built  by  an  artist  and  the 
other  by  a  builder.  The  former  is  worth  much  more  than 
it  cost  and   the   latter  much   less. 

We    sometimes  hear    houses   spoken    of  as    being  out  of 


HOUSE-BUILDING    AN    ART.  15 

style.  That  cannot  be.  Good  art,  good  construction,  and 
good  floor  planning  never  go  out  of  style.  The  history  of 
architecture  affirms  this.  Many  buildings  have  been  con- 
structed in  past  centuries  upon  which  we  look  now  as 
ultimate  achievements.  The  commercial  value  of  the  artistic 
is   not  fully   appreciated. 

As  a  matter  of  business  one  who,  with  the  help  of  an 
artist,  spends  eighteen  hundred  dollars  in  a  house  has  a 
much  better  structure,  when  viewed  from  a  money  stand- 
point, than  one  who  merely  gets  eighteen  hundred  dollars 
of  crudely  applied  material  and  labor  in  house  form.  In 
how  much  better  position  are  those  who  employ  well-trained 
architects  to  do  their  work  than  those  who  operate  without 
such  help.  The  design  and  arrangement  of  a  house  are  of 
more  commercial  importance  than  the  material  and  labor 
which   form   it.      It  is  the   thought  which   gives   value. 

The  ideas  of  design  which  have  been  set  forth  in  this 
connection  are  as  old  as  art,  but  the  public  has  been  mis- 
led in  the  matter.  The  spirit  of  extravagance  has  associated 
the  ideas  of  beauty  and  great  cost.  They  have  been  consid- 
ered inseparable,  and  in  the  struggle  for  luxurious  effects 
with  limited  means,  we  have  a  tawdriness  and  commonness 
pervading  the  majority  of  houses  built.  This,  combined  with 
the  general  ignorant  struggle,  has,  through  sham  effects, 
brought  our  domestic  architecture  into  a  rather  low  state. 
Many  who  are  known  as  architects  have  helped  foster  this 
spirit.  Relatively  few  are  educated  in  the  true  artistic 
sense,  and  the  majority  progress  in  the  same  spirit  of  con- 
structive crudeness  which  is  common  to  mere  builders.  We 
have  only  to  take  up  the  architectural  journals  of  to-day 
and    look  at    the  designs  of  houses  published  to  realize  the 


1 6  BEAUTIFUL    HOUSES. 

true  state  of  affairs.  It  indicates  that  the  majority  of  archi- 
tects are  pampering  the  public  demand  for  fussiness  and 
sham  luxury.  It  is  to  an  improved  public  taste  and  a  few 
conscientious  architects  that  we  may  look  for  reform  in 
this   matter. 

General  culture  or  education  does  not  bring  with  it 
artistic  knowledge,  appreciation,  or  judgment.  This  may  be 
illustrated  by  an  examination  of  the  principal  buildings 
of  our  great  educational  institutions.  The  very  early  build- 
ings of  Harvard  College,  for  instance,  are  among  the  best. 
The  general  statements  made  will  apply  to  most  educational 
institutions.  Their  architecture  is  usually  bad,  proving  as 
conclusively  as  possible  that  general  education  does  not 
correspondingly  develop  an  artistic  sentiment.  Artistic 
knowledge  comes  from  a  direct  association  with  thing's 
artistic. 


og!i>o     o<£'£0      o^uo 


HOUSE-BUILDING    AN    ART.  —  Continued. 

CHAPTER    II. 

DEVELOPMENT    OF     ART    IN     BUILDING. THE    PRIMITIVE    HOUSE. FIRST    PRINCIPLES. 

THE     GREEK    TEMPLE     AND   THE     INDIAN     HUT.  THE    FUNCTIONAL    AND    THE 

ARTISTIC. ROMAN     METHODS      OF      BUILDING. ACADEMIC      ARCHITECTURE. 

THE     OLD      ROMAN     AND     THE     OLD     COLONIAL.  ROM.ANESOUE     ARCHITECTURE. 

GOTHIC     ARCHITECTURE. EMOTIONAL    EXPRESSION    IN     BUILDING. DECLINE 

OF     THE    GOTHIC.  THE     RENAISSANCE. MODERN    ARCHITECTURE    OF    EUROPE. 

—   CHARACTERISTICS       OF        MODERN        AMERICAN       ARCHITECTURE.  AMERICAN 

STRUCTURAL       FORMS.  AMERICAN      METHODS      OF       LIVING       AS       RELATED      TO 

ARCHITECTURE. RELATION     OF     PRECEDENT     TO     FUTURE     DEVELOPMENT. 

ONE  reason  why  our  buildings  have  been  so  generally 
inartistic  is  that  people,  as  a  class,  do  not  realize  the 
relation  which  exists  between  art  and  building.  We  cannot 
expect  to  reach  this  result  by  making  working  artists  of  the 
people.  It  is  not  necessary  that  one  should  be  able  to  draw 
or  to  paint  in  order  to  give  the  mind  an  artistic  training. 
One  may  be  an  artist  in  heart  and  mind  without  manual 
dexterity  in  the  arts.  It  is  through  artistic  cultivation  that 
we  may  expect  an  improvement  in  architecture.  Good  taste 
is  not  inherent;  it  comes  by  direct  association  with  things 
artistic.  The  intelligent  sympathy  and  support  which  the 
people  may  give  their  architects  and  builders  will  do  quite 
as  much  to  remove  the  present  unsatisfactory  condition  as 
anything  which  can  be  thought  of  at  this  time.  It  is  to 
give   a  general  idea  of  the  development  of  architecture   and 

17 


i8 


BEA L  riJ-'l  TL    HOUSES. 


the  relation  of  art  to  building  that  this  chapter  is  written. 
The  primitive  houses,  a  picture  of  which  is  given  in  Fig. 
i.  were  constructed  by  Alaskan  Indians.  They  might  as 
well  have  been  the  structures  of  a  thousand  or  two  thousand 
years  before  Christ.  It  is  a  primitive  idea.  It  illustrates 
the   first  principle   in  building.      The   walls  are   made   of  any 


Fig.    i.— Buildings    oh    Alaskan    Indians. 


convenient    material.     The    porch    is    constructed    with    tree 
trunks   for  columns  and   branches   for   lintels. 

Another  primitive  dwelling  is  a  cave.  The  ceiling  forms 
a  natural  arch;  a  few  stones  are  jambed  together  at  the 
doorway,  and  we  have  an  arched  opening.  In  these  two 
kinds  of  houses  we  have  all  of  the  principles  of  building: 
columns  for  support,  and  lintels  which  rest  on  them;  or  an 
arch  over  a  doorway,  which  carries  the  weight  above.  These 
are   the   only  known   principles   of  construction.      The  rest  is 


HOUSE-BUILDING    AN   ART. 


19 


Fig.    2.— A    Decorated    Entrance    to    a    Cave. 


simply    detail.      The    principle    of   construction    involved    in 

the  hut  of  the  Alaskan 
Indian  is  the  only  one 
used  in  the  construction  of 
the  principal  temples  of 
Egypt  and  Greece.  The 
arch  with  the  lintel  was 
used  in  the  Roman  struct- 
ures, the  cathedrals  of  the 
Middle  Ages,  and  those 
of  the  Renaissance.  The 
principles  of  the  lintel  and 

the  arch  are  practically  the   sum  and   substance  of  building. 

Fio-.   2   shows   the   decoration    of  the    entrance    to    the    cave. 

When    the    work    of  the    artist    and   that   of  the  builder  are 

united,  we  have   architecture. 

The    front    of  the    Greek    temple,   Fig.  3,  does    not   look 

much  like  the   In- 
dian   hut,    yet    no 

one   can   deny  the 

identity  of  the 

principle    of    con- 
struction as  shown 

in    porches.      Fig. 

4   shows   a    Greek 

temple  as  it  would 

appear    as   a  mere 

building   with    the 

art     omitted.      By 

looking    at    it    we 

see   how   coarse    and    common    a    Greek    temple    might    have 


Fig.    3.  — A    Greek    Temple    as    an    Artistic    Structure. 


20 


BE  A  UTIFUL    HO  USES. 


Fig. 


■A    Greek    Temple    as    Mere    Building. 


been.     The  great  columns  of"   marble,  the  ponderous  lintels, 
the  heavy   cornice,   and   the  expanse  of   roof  are   capable   of 

being  made  very 
common  through  the 
treatment  of  the  de- 
tail. However,  the 
Greek  took  this 
structural  form  and 
added  to  it  more  of 
delicacy,  nice  dis- 
crimination, and  2"en- 
tleness  of  expression 
than  the  world  has 
since  known  in  art. 
Theirs  was  an  exclusively  intellectual  art  with  an  absence 
of  emotion.  There  was  the  splendid,  robust  construction, 
the  immense  columns  of  marble  with  «,reat  lintels  extending- 
from  one  to  another,  and  above  all  a  mass  of  pediment 
beautifully  decorated.  It  was  a  fine  and  delicate  mind 
which  took  this  rugged  outline  and  refined  every  detail. 
This    made    Greek    architecture. 

I  have  mentioned  enough  of  the  principles  of  good 
architecture  to  give  an  understanding  of  what  is  needed  in 
our  American  homes.  A  house  should  be  arranged  to 
meet  the  requirements  of  its  occupants.  So  was  the  Greek 
temple.  It  should  be  constructed  in  a  direct,  substantial 
manner.  So  was  the  Greek  temple.  It  should  be  decorated 
in   a  thoughtful,  refined   spirit.      So   was   the   Greek  temple. 

The  Romans  took  the  Greek  orders,  and  in  the  course  of 
a  few  hundred  years  surrounded  their  reproductions  with 
about  the  same  kind  of  order  and   svstem  that  we  find   in  a 


Fig.    5—  A    Roman    Doorway. 


HOUSE-BUILDING    AN    ART.  23 

well-organized  manufactory  of  our  own  time.  By  this  ex- 
pression I  do  not  wish  to  belittle  the  charaeter  of  the  Roman 
work.  It  was  monumental,  grand,  impressive,  and  artistic, 
though  in  an  essentially  different  way  from  the  work  of  the 
Greeks.  They  had  the  help,  originally,  of  the  Greek  artists; 
but  the  organizing  quality  of  the  Romans  led  them  to  formu- 
late everything.  It  obliterated  the  Greek  method  and  gradu- 
ally developed  an  architecture  which  was  entirely  dependent 
upon  formula.  Their  work  was  scholastic.  To  be  a  Roman 
architect  it  was  not  necessary  to  be  an  artist  at  heart.  It 
was  a  question  of  knowledge  rather  than  of  feeling  or 
impression.  Thev  were  great  engineers  with  a  splendid 
academic  knowledge  of  architectural  forms.  Theirs  was  an 
academic  architecture  to  which  any  one  could  be  trained. 
Their  drawings  were  prepared  by  educated  mechanics  who 
worked  according  to  precedent  and  rule.  The  work  was 
executed  by  other  mechanics. 

This  general  system  could  be  applied  to  the  building  of 
American  houses.  House-building  knowledge  could  be 
formulated,  worked  into  text-books,  the  decoration  thereof 
applied  according  to  method,  and  we  should  have  an  archi- 
tecture more  precise,  infinitely  more  satisfactory  than  the 
hodge-podge  which  stares  us  in  the  face  every  time  we  go 
on  the  street.  The  Old  Colonial  architecture  originated  in 
a  knowledge  of  classic  forms.  It  was  an  application  of 
academic   architecture  to  the  decoration  of  American  homes. 

Fig.  5  is  an  old  Roman  doorway  ;  Fig.  6  is  taken  from 
an  old  colonial  house  in  New  England.  One  is  constructed 
in  stone,  the  other  in  wood.  The  similarity  in  form  is 
apparent.  When  we  speak  of  this  architecture  as  academic, 
we    mean    that     it    can    be    constructed     according-    to    rule. 


^4 


BEAUTIFUL    HOUSES. 


w 


Fig.    6. —An    Old   Coloniai 
Doorway. 


There    arc    definitely    expressed    directions    for    the    relative 
size    of  the   columns,    the    proportion    of   the   cornice  to  the 

height  of  the  columns,  and  the  exaet 
method  to  be  used  in  the  production 
of  each  particular  moulding"  and  other 
decorative  feature.  This  is  a  formal 
architecture  —  not  to  be  commended 
as  the  best  method,  but  merely  men- 
tioned as  one  method,  and  from  which 
our    Old    Colonial    style    developed. 

If  the  record  of  the  world's  best 
productions  and  the  methods  of  their 
development  were  brought  together 
there  would  be  developed  a  text-book 
architecture  which  would  be  far  from 
offensive,  but  which  would  not  be  spirited,  and  certainly 
not  American   in   character. 

The  Roman  architecture  expired  with  the  decline  of 
that  empire,  and  it  was  not  until  the  eleventh  century  that 
there  was  general  evidence  of  architectural  development. 
The  architecture  of  the  eleventh  and  twelfth  centuries  is 
known  as  the  Romanesque.  We  must  not.  however,  too 
closely  connect  this  Romanesque  architecture  with  that  of 
the  Romans.  Whilst  it  had  some  of  the  Roman  forms  of 
decoration,  there  was  more  of  freshness,  vitality,  and  origi- 
nality in  the  Romanesque  architecture  of  the  eleventh  and 
twelfth  centuries  than  belonged  to  that  with  which  its 
name  is  so  closely  allied,  but  from  which  it  was  so  widely 
separated. 

The  Romanesque  decorative  forms  in  a  refined  form 
were    made   known   to    us  by   our  great   architect,   Mr.    II.  II. 


HOUSE-BUILDING    AN    ART.  25 

Richardson.     The  Trinity  Church    of  Boston,   the   City   Hall 

in  Albany,  the  Chamber  of  Commerce  at  Cincinnati,  the 
Court  House  at  Pittsburg,  Marshall  Field's  store  in  Chicago, 
and  many  other  artistic  structures  were  designed  by  Mr. 
Richardson,  who  had  many  small  followers  and  imitators 
throughout  the    country. 

In  the  thirteenth,  century  we  find  a  great  climax.  This 
architecture  had  more  of  good  construction,  originality  of 
form,  and  artistic  decoration  than  any  we  have  since  seen. 
It  is  an  architecture  overflowing  with  ideas.  It  was  during 
that  period  that  the  great  Cathedral  of  Notre  Dame  at  Paris, 
those  at  Bourges,  Rouen,  Amiens,  Rheims,  and  hundreds  of 
others  were  constructed.  It  came  as  a  blaze  of  light  out  of 
the  Dark  Ages.  The  Romanesque  was  a  mere  glimmering 
of  what  was  to  follow.  The  Gothic  of  the  thirteenth  cen- 
tury was  the  grandest  illumination  the  world  has  ever  known. 
It  is  startling  from  its  originality.  Constructively,  it  was 
radical  in  all  its  details.  Its  decoration  was  effervescing 
with  newness  and  beauty.  It  was  an  architecture  born  of 
a  fervent  religious  sentiment;  the  people  poured  themselves 
into  it.  It  is  the  expression  of  high  emotion  in  building. 
Many  of  our  churches  have  followed  the  style  of  the  Gothic 
of  the  thirteenth,  fourteenth,  and  fifteenth  centuries,  but  they 
pale  into  insignificance  when  compared  with  the  architecture 
ot  that  period.  The  splendid  spirit  has  ever  since  been 
lacking.  There  is  to-day  more  of  art  in  a  thirteenth-century 
cathedral  than  is  to  be  found  elsewhere.  Where  else  does 
one  find  architecture,  sculpture,  painting,  music,  and  the 
splendid  ceremonial  in  so  high  a  state  of  development? 
One  cannot  hope  to  find  elsewhere  anything  which  will 
have  so  great  an   effect  upon  the   emotions. 


2  6  BE.  i  (  tif i  'i.    //( ?  £  :v/':.s. 

In  the  fourteenth  and  fifteenth  centuries  the  Gothic  archi- 
tecture became  too  luxuriant,  and  in  the  sixteenth  it  gave 
place  to  the  Renaissance.  This  early  Renaissance  archi- 
tecture borrowed  its  decorative  forms  from  the  old  Roman 
period  ;  yet  in  France  it  embodied  the  spirit  and  vivacity 
of  the  Gothic.  It  was  all  borrowed,  but  the  borrowers  dis- 
played wonderfully  good  taste  ;  the)'  made  it  more  beautiful 
in  detail,  more  original  in  general  conception,  than  was  the 
source  of  their  general  idea.  The  spirit  was  extinguished 
in  the  seventeenth  century,  and  in  the  eighteenth  century 
it  was  dead.  Under  the  guidance  of  McKira,  Mead,  & 
White,  of  New  York,  and  others,  there  has  been  developed 
during  recent  years  a  sincere,  studious  revival  of  the  archi- 
tecture of  the  Renaissance.  Most  of  the  work  of  the  Chicago 
Exposition  was  in  that  style.  This  illustration  may  serve  to 
bring   it  measurably  to  our   minds. 

I  have  indicated  in  a  broad  way  the  lines  along  which 
architecture  has  been  developed.  I  might  have  spoken  of 
the  Byzantine  architecture  —  an  art  having  Roman  struct- 
ural forms  and  much  of  the  fineness  and  sensitiveness  of 
tlie  (neck  —  or  of  the  luxurious  architecture  of  Spain  ;  but 
there  is  no  necessity  lor  this.  Historical  architecture,  as  we 
generally  know  it,  must  be  either  Greek,  Roman,  Roman- 
esque,  or   Renaissance. 

We  read  of  the  style  of  Francis  I.,  of  that  of  Louis 
XIII.,  XIV.,  and  XV.,  of  the  Dutch  Renaissance,  of  the 
Queen  Anne  and  Elizabethan  ;  but  all  these  belong  to  the 
Renaissance.  They  are  mere  parts  of  the  development  and 
decline  of  that  architecture.  The  architecture  of  the  early 
part  ot  the  Renaissance  is  much  better  than  anything  which 
developed   later,  as  was  the  architecture  of  the   early   part  of 


HOUSR-BLILDLXG    AN    ART.  27 

the  Gothic  period  superior  to  what  followed.  It  is  natural  for 
us  to  ask  about  modern  architecture  in  the  Old  World.  With 
all  their  splendid  examples,  out  of  the  research  of  the  past, 
what  are  they  doing  to-day?  To  speak  plainly  and  directly, 
we  must  say  that  the  modern  architecture  of  Europe  is 
relatively  inferior.  We  find  no  great  structures  in  the  style 
of  the  Renaissance  which  equal  those  of  the  early  Renais- 
sance. We  find  no  structures  in  the  Gothic  style  equal  to 
those  of  the  thirteenth  century.  In  the  art  of  architecture 
we  have  to  look  backward  several  hundred  years  to  find 
higher  development.  Viollet-le-Duc  has  said  :  "  In  archi- 
tecture alone  man  looks  back  upon  the  masterpieces  of  the 
past,  not  as  points  of  departure,  but  as  ultimate  attainments,, 
content  for  his  own  part  if,  by  recombining  the  elements 
and  reproducing  the  forms  of  these  monuments,  he  can  win 
from  an  esoteric  circle  of  archaeologists  the  praise  of  repro- 
ducing some   reflex  of  their  impressiveness." 

If  we  speak  of  the  architecture  of  the  immediate  present, 
in  Paris,  for  instance,  we  say  at  once  and  unhesitatingly  that 
it  is  not  ugly.  The  details  are  usually  good,  the  carving 
and  decorative  work  never  clumsy,  and  none  of  the  finer 
details  exaggerated  or  unusual.  The  School  of  Fine  Arts, 
in  Paris,  has  left  an  indelible  imprint  upon  the  modern  archi- 
tecture of  France.  This  influence  is  not  to  be  exaggerated. 
The  school  architecture  is  the  architecture  of  that  country. 
To  say  that  the  modern  commercial  architecture  of  Paris  is 
not  monotonous  would  be  untrue  ;  to  say  that  it  is  ugly  or 
clumsy,  that  its  details  are  bad  or  conceived  in  ignorance, 
would  be  equally  untrue.  There  is  the  monotony  of  uni- 
formity, but  never  ugliness.  There  are  miles  of  seven  and 
eight     story    structures    with    no    effort    towards    noveltv,   no 


28  BEAUTIFUL    HOUSES. 

attempt  at  wildly  picturesque  effects,  but  with  never  an 
offence  against  refinement  of  detail.  The  mouldings,  the 
carving,  all  of  the  decorative  features,  as  well  as  the  com- 
position, are   exact,   studious,   refined,   and   usually  beautiful. 

A  great  many  people  say  that  the  modern  work  of  Paris 
is  monotonous,  but  no  one  ever  says  that  it  is  ugly.  It 
is  the  product  of  a  single  great  school  which  has  only  one 
idea  —  to  teach  classic  architecture.  There  is  a  soberness, 
a  quietness,  and  a  dignity  about  its  products  which,  when 
they  are  numerously  multiplied,  give  little  variety  or  pictur- 
esqueness.  This  is  measurably  true  of  all  the  architecture 
of  the  Continent.  It  is  all  dominated  by  the  great  school  of 
France.  While  this  is  not  so  true  of  the  architecture  of  the 
United  Kingdom,  it  is  a  fact  that  what  this  section  gains  in 
picturesqucness,  through  the  lack  of  a  great  sober  impulse, 
it  loses  in  refinement.  The  city  architecture  of  Great  Britain 
is  only  narrowly  removed  from  the  uncertainty,  the  lack  of 
repose,  and  the  crudeness  which  belong  to  so  much  of  the 
architecture   of  America. 

The  earlier  architecture  of  this  country  is  known  as  the 
Old  Colonial.  It  is  the  work  of  highly  educated  carpenters 
and  mechanics,  who  came  to  this  country  during  the  Old 
Colonial  period.  The  style  is  of  classic  origin,  the  details 
belonging  to  the  Roman  and  Greek  architecture.  Generally 
speaking,  they  were  admirably  simplified,  and  served  a 
splendid  purpose  in  the  decoration  of  our  American  homes. 
There  is  a  quietness  and  sobriety  about  this  architecture, 
a  stamp  of  knowledge,  which  naturally  brings  it  into  great 
favor  with  our  people.  It  was  the  product  of  academic 
builders,  those  well  schooled  in  their  work,  and  it  is  the 
best  architecture   we   have   ever  had   for  our  dwellings. 


HOUSE-BUILDING    AN    ART.  29 

A  great  many  people  will  ask  about  an  American  style 
of  architecture.  In  a  measure  we  have  it,  not  generally, 
however,  in  a  state  of  great  refinement.  The  idea  is  new, 
original,  and  promising.  Our  dwellings,  such  as  are  now 
designed  by  a  small  number  of  our  best  architects,  are 
artistic  productions.  The}-  are  entirely  distinct  from  any- 
thing known  to  the  rest  of  the  world.  But  this  is  only 
a  part  of  our  architecture.  Our  steel  and  burnt-clay  con- 
struction belong  to  America.  The  commercial  structures 
of  our  great  cities  are  unique  as  commercial  productions. 
There  is  erected,  first,  a  self-supporting  steel  frame,  which 
is  surrounded  by  some  form  of  burnt  clay,  brick,  terra- 
cotta, or  stone.  A  style  of  architecture  is  developed  from 
a  nation's  distinctive  requirements.  Our  commercial  de- 
mands present  a  new  architectural  problem.  We  have  met 
it  successfully.  It  is  true  that  the  clothing  of  these  steel 
structures  is  often  rather  crude,  but  this  is  not  universally 
true.  Given  the  steel  frame  and  an  artist  to  decorate  it 
with  structural  coverings,  and  we  have  a  well-established 
style  of  American  architecture.  In  our  Protestant  churches 
we  are  departing  from  the  general  plan  suggested  by  the 
old  cathedrals.  The  long  rooms  and  tall  spires  have  no 
place  in  meeting  the  requirements  of  a  Protestant  congre- 
gation to-day.  The  auditorium,  constructed  solely  with  a 
view  to  seeing  and  hearing,  of  a  character  to  seat  the 
greatest  number  with  greatest  comfort,  is  a  necessity  of 
our  own  times.  The  artist  who  takes  the  forms  suggested 
by  these  requirements,  and  properlv  decorates  them,  is  doing 
his  best  to  develop  an  American  school  of  architecture. 
But,  after  all,  an  American  school  is  not  important.  It  is 
good    architecture     that     we    want,    from     whatever    source. 


30  BEAUTIFUL    HOUSES. 

Primarily  we  must  meet  the  physical  requirements  of  our 
structures  in  a  direct  manner,  and  then  decorate  them  with 
the  best  motives  which  the  world's  architecture  has  to 
oiler  us.  [f  we  can  do  this  in  an  original  spirit,  it  is 
well,  but  originality   is   not  essential. 

There  is  an  inclination  upon  the  part  of  many  of  us  to 
look  for  the  development  of  American  architecture  along 
the  lines  which  architecture  has  taken  in  the  past.  There 
is  no  good  reason  for  this.  The  cathedral,  the  chateau,  and 
the  great  historic  monuments  of  the  Old  World  were  con- 
structed in  response  to  conditions  which  can  never  conic 
to  us.  Our  methods  of  living,  our  commercial  conditions, 
the  tendency  of  religious  thought,  our  educational  system, 
and,  in  truth,  our  general  social  condition  furnish  problems 
for  the  architect  varying  greatly  from  those  of  the  earlier 
periods.  The  character  of  the  architecture  will  be  quite  as 
individual  as  the  varying  conditions  which  give  it  birth. 
Instead  of  great  military  chateaux,  we  have  thousands  of 
towns  and  cities  constructed  without  regard  to  defence,  and 
an  architecture  which  leaves  the  military  conditions  entirely 
out  of  consideration.      It  is   an   architecture    of  peace. 

Instead  of  the  great  cathedral,  with  its  art,  forming 
a  part  of  the  impressive  religious  service,  and  having 
a  splendid  emotional  effect  upon  the  people,  we  have 
the  more  modest  chapels,  lecture  halls,  and  audi- 
toriums wherein  people  are  instructed  without  serious 
regard  to  the  emotional  influences.  This  is  a  condition 
which  makes  a  great  change  in  the  architecture.  Our 
rapid  means  of  communication  from  one  section  to  another, 
the  trade  conditions,  the  peaceful  relations  with  the  people 
of    the    various    sections,  the    more    uniform     distribution    of 


HOUSE-BUILDING    AN    ART.  31 

wealth,  and  the  education  of  the  masses  have  developed 
a  commercial  architecture  which  has  never  before  had  a 
proper    place     in     the     world's     history.        Our     educational 

methods  create  the  necessity  for  the  construction  of  many 
buildings   of  a  character   not  needed  in  earlier  times. 

Thus  it  is  readily  seen  that  we  are  developing  structural 
necessities  which,  if  handled  in  a  perfectly  direct,  unaffected, 
artistic  manner,  will  produce  an  architecture  having  its  own 
character  and  belonging  distinctively  and  solely  to  our  own 
times.  It  is  our  clinging  to  the  past  which  binds  us.  It 
is  our  blind  study  of  precedent  which  keeps  us  stationary. 
Precedent  has  distinct  value,  but  only  when  intelligently 
used.  A  French  chateau  is  not  suited  to  the  conditions  of 
our  living  at  this  time.  However,  many  of  the  decorative 
details  of  these  buildings  will  help  us  clothe  structures 
arranged  with  reference  to  our  own  demands.  The  Old 
Colonial  architecture  is  the  most  artistic  expression  of  the 
home  condition,  and  home  life  of  a  people,  which  we  have 
here.  The  houses  were  planned  with  reference  to  the  uses 
intended,  and  the  beautiful  classic  details  were  so  modified 
as  to  decorate  them,  express  the  domesticity,  home  comfort, 
general  refinement,  and  splendid  character  of  the  people  who 
lived  at  that  time.  No  architecture  can  be  more  artistic, 
none  can  be  more  highly  commended,  than  one  thus  suc- 
cessful   in    its    expression. 

In  this  I  have  undertaken  to  make  plain  the  sources 
from  which  we  can  draw  our  architectural  inspiration,  the 
lines  of  the  development  of  the  architecture  of  our  own- 
times,  and  the  definite  relation  which  present  demands 
bear    to    architectural    forms. 


THE    WORLD'S    HOMES. 

CHAPTER    III. 

FRENCH     DOMESTIC     ARCHITECTURE. NATIONAL     BUILDING     METHODS. TWELFTH— 

CENTURY    BUILDING.  —  THE    MUSICIAN'S    HOUSE   AT    RHEIMS.  —  FLOOR    PLANS    OF 

DOMESTIC      STRUCTURES.  —  PICTURESQUE       STAIR      TOWERS.  THE      HOUSE      OF 

JACQUES  COEUR. —  AN  EARLY  FARM-HOUSE.  —  HALF— TIMBER  ARCHITECTURE 
OF  THE  TWELFTH  CENTURY. LATER  DEVELOPMENTS  IN  WOODEN  ARCHITECT- 
URE.  <>l'R    USE    OF    FRENCH    EXAMPLES.  —  FROM    LISSIEUX. 

FRANCE  presents  a  wealth  of  material  which  may  be 
studied  in  connection  with  domestic  architecture  for  its 
unequalled  variety  and  its  artistic  qualities.  Excepting-  the 
chateaux,  the  structures  of  which  we  have  the  completest 
record  are  almost  entirely  buildings  fronting  directly  on 
the  street  or  road.  In  France  it  is  rare  indeed  that 
one  sees  an  isolated  building  with  a  free  passage  around 
it,  as  is  common  in  our  American  towns  and  cities.  It  is 
not  at  all  uncommon  for  a  farm  building  to  be  constructed 
within  a  wall  ;  again,  the  farmer's  house  may  be  almost 
Hush  with  the  road.  Little  farm  communities,  with  the 
buildings  abutting  on  one  another,  are  very  common,  because 
of  the  companionship  which  such  association  brings.  This 
was  not  alone  true  in  the  early  history  of  France,  but  obtains 
in  the  constructions  of  to-day.  The  small  towns,  as  well 
as  the  cities,  are  almost  universally  built  very  compactly. 
rLhus  we  may  expect  to  sec  very  few  examples  of  isolated 
structures  in  France.     There  are.  however,  a   few  field-houses 

32 


THE     WORLD'S    HOMES.  33 

of  which   I  give  a  typical   illustration,  which   are  interesting 
as  showing  the  early   methods  of  building  such   houses. 


. 


F;g.    7  —  Houses    at   Cluny,    Twelfth    Century. 
(From  "  Architecture  Civile  et  Domestique,"  Verdier  et  Cattois.) 

The  centre  of  development  of  civil,  domestic,  and  relig- 
ious architecture  was  Cluny.  There  is  a  great  temptation 
to  select  a  number  of  illustrations  from  this  city.  How- 
ever,   one    must    suffice  —  a    stone    building,    two    stories    in 


34 


B  /:.  I  ( 'TIFL  L    I/O  USES. 


height,  and  covered  with  a  tile  roof.  The  front  of  the 
first  floor  is  used  as  a  store  ;  the  back  part,  no  doubt,  is  a 
living-room  ;  the  second  floor  is  manifestly  used  for  domestic 
purposes  (Fig.  7).  We  have  here  the  spirited  composition 
and    rugged    vigor    which    were  a  part    of    the    Romanesque 


^;/?W^ff??WW5W^i^^^^ 


Fig.   8. —  The   Musician's    House   at    Rheims.    Thirteenth    Century. 

(From   "Architecture  Civile  et   Domestique,"   Verdier  et  Cattois.) 

architecture  ;  a  style  having  its  origin  in  the  eleventh  century 
and  extending  through  the  twelfth.  It  had  its  own  natural 
constructive  form,  but  borrowed  many  of  its  decorative 
details  from  the  old  Roman  architecture.  Certainly  the 
general  form,  the  mouldings,  and  often  very  many  of  the 
decorative  details  were  imported  from  the  Roman  styles. 
However,  in  this  connection  it  is  well  to  bear  in  mind  that 
the  general  constructive  details  were  not  borrowed,  but  had 
their  origin  in  the  practical  necessities  of  the  time  in  which 
the}'  were   devised. 


THE     WORLD'S    HOMES. 


35 


The  Musician's 
House  at  Rheims  (Fig. 
8)3  which  belongs  to 
the  thirteenth  century, 
is  typical,  in  the  grace 
of  its  detail,  in  its  beau- 
ty of  composition,  and 
the  high  character  of  its 
sculpture,  of  the  archi- 
tecture of  that  time.  It 
is  a  particularly  valu- 
able example,  because 
it  admits  of  adaptation 
to   our  own   times. 

From  the  architect- 
ure of  a  hundred  years 
later  we  select  a  build- 
ing of  most  ino-enious 
plan.  This  will  be  no- 
ticed in  the  arrange- 
ment    of    the     stairway 

and  entrance   (Fig.  9).      This   is  another  of  those  very  use- 
ful   examples    which    may    be    readily    adapted    to    our    own 

times.  One  cannot  but  call 
attention  to  the  simplicity  of 
the  general  composition  ;  the 
arrangement  of  parts,  and  the 
beautv  and  gracefulness  of  the 
various  details  ;  the  mouldings 
and  finish  around  the  windows; 
FlG    io  the    hnial    of   the    little   tower, 


Fig.  q  —  Fourteenth    Century   House. 
(From   Yiollet-le-Duc's  "  Diet,  de  l'Architecture.") 


36 


BE  A  UTIFUL    HO  USES. 


the  chimney  tops   and    the    gables.      The  string   courses  are 

fine  in  character, 
the  hinges  on  the 
front  door  partic- 
ularly  graceful, 
and  the  finish  on 
the   tower  above 
it    one     of    those 
startlingly  practi- 
cal   and    original 
devices     which 
cannot  but    coin- 
in  and     respect 
when  carried  out 
in    this    perfectly 
natural,    straight- 
forward   manner. 
With   the   excep- 
tion   of    the    en- 
trance   t  o     t  h  e 
cellar,   all   of  the 
w  indows    have 
square    openings. 
All    are    quite 
simple     in    char- 
acter    and    rela- 
tively   free    from 
great    expense    in    construction     (Fig.     10). 

I  cannot  refrain  from  selecting  another  example  of  this 
century — a  three-story  stone  building  from  Treves.  It 
is    a    most    charming    and    graceful     structure,    which      must 


Fig.    n.  — House   at  Treves,    Fourteenth    Century. 
(From  VioIlet-le-Duc's  "Diet,  de  l' Architecture.") 


THE     WORLD'S    HOMES. 


M 


commend  itself  to  all  people  of  good  taste.  Even  in  the 
small  cut  we  see  the  delicate  character  of  its  detail,  the 
beautiful  spacing  of  its  openings,  and  the  recognition  of  all 
constructive  necessities.  It  is  stamped  throughout  with  the 
honor  and  refinement  of  a  true  artist;  and  withal  there  is 
its  simplicity 
and  availability 
for  our  own 
needs.  There 
is  no  better 
opportunity  of 
again  empha- 
sizing the  fact 
that  here  is  a 
relatively  inex- 
pensive struct- 
ure which   is   a 

great     artistic 
success,    and 

o  n  e         u  p  o  n 
which,     if    the 

artist    had    had 

much     larger 

m  a  t  e  r  i  a  1    r  e  - 

s  o  u  r  c  e  s,    he 

would  not  have 

found  it  advan- 
tage o  u  s     t  o 

have    spent    an 

extra    cent.      It  is   simple,  beautiful,  inexpensive,  and  entirely 

successful    (Fig.    11). 


Fig.    i2.  — Plan    of   Jacques   Coeur's    House    at    Bourges. 
(From  Viollet-le-Duc's  "  Diet,  de  ['Architecture.") 


3§ 


BEAUTIFUL    HOUSES. 


One  of  the  most  magnificent  private  establishments  of  the 
fifteenth  century  is  the  house  of  Jacques  Cceur  of  Bourges. 
He  secured  the  right  to  enclose  a  part  of  the  ramparts  of 
the  city  as  one  wall  of  his  building.  The  towers  Q_,  R,  and 
S  were  the  original  towers  ol  the  old  wall.  The  general 
plan  of  this  structure  (Fig.  12)  is  typical,  in  a  broad  sense, 
of  the  arrangement  of  the  ambitious  private  establishments 
of  that  time.  The  principal  entrance  is  shown  at  A.  The 
court  is  C.  There  are  colonnades  surrounding  two  sides 
of  it,  and  rooms  connected  with  it  on  all  sides.  Stair- 
ways to  the  various  apartments  are  shown.  Practically 
each   separate  apartment  has   its   own   stairway. 

The  bird's-eye 
view  (Fig.  13) 
gives  a  very  lair 
idea  of  the  outline 
of  this  building, 
w  h i  c  h ,  by  the 
way,  is  in  a  state 
of  fine  preserva- 
tion to-day.  The 
decoration  is  ex- 
treme lv  rich,  and 
the  outlines  are 
ideally  graceful. 
One  would  search 
in  vain  for  an 
awkward  mould- 
ing, an  unfortu- 
nate bit  of  decoration,  or  any  other  departure  from  the  work 
of  a  great  artist. 


In,.    13. — Bird's-Eye   View   of    Jacques   Coelr's   House, 
Fifteenth   (.1  ntury. 
From  Viollet-Ie-Duc's  "  Diet,  de  1' Architecture.") 


THE     WORLD'S    HOMES. 


39 


^ 


Fig.    14. —An    Early    Farm-house. 
(From  ViolIet-le-Duc's  "  Diet,    de  l'Architecture.") 


Fig.  14  is  a 
typical  illustra- 
tion of  one  ol 
the  early  field 
or  farm  houses 
mentioned  0  n 
page  32.  The 
artistic  instinct 
is  apparent  even 
in  this  structure. 
The  chance  for 
display  of  the 
picturesque  is 
always  accept- 
ed, and  in  this 
simple    building 

are    many  interesting   suggestions,   and    certainly    a    splendid 
example  of  what  may  be   done  by  very  simple  means. 

Half-timber  architecture  was  common  in  France  until 
something  over  a  hundred  years  ago.  The  general  char- 
acter of  its  construction  has  always  been  the  same,  though 
in  different  periods  it  has  varied  somewhat  in  detail.  The 
earliest  example  of  this  kind  of  work  is  cited  by  Viollet-le- 
Duc,  and  had  its  origin  in  the  middle  of  the  twelfth  century 
(Fig.  15).  He  sketched  it  in  1834,  at  which  time  it  was 
being  taken  down  to  give  place  to  another  structure.  It  is 
to  be  noticed  that  it  is  a  three-story  building,  with  the  two 
upper  stories  overhanging.  The  partition  walls  on  each  side 
are  of  stone,  and  the  projection  of  the  wall  is  carried  on 
corbels.  The  section  and  details  show  the  general  char- 
acter    of  the    construction.       Fig.    16     is     the     section,     and 


4° 


/.'  A .  /  C  7 IFUL    HO  USES. 


2^w 


indicates  in  outline  the  character  of  the  framing.  On  the 
first  story,  as  shown  in  the  section,  A  is  a  post,  B  a 
bracket,  R  a  girder,  D  a  cross-sill  running  over  the  girder. 

Above  the  girder 
are  intermediate 
supports.  The 
support  P  is  mor- 
tised and  pinned 
to  the  girder  L, 
and  rests  on  the 
piece  on  girder  at 
R.  M  is  the  notch 
cut  in  the  upright 
E  which  carries 
the  girder  L.  The 
piece  E  continues 
through  to  the  sill 
F,  and  the  bracket 
I  rests  on  a  corbel 
O .  The  other 
details  of  con- 
struction on  this 
section  will  be 
under  s  t  o  o  d  by 
merely  looking. 
The  square  pieces 
corresponding  to 
our  joists,  which 
rest  on  the  sills,  reach  from  the  intermediate  girder  to 
the  walls  on  each  side.  Fig.  17  shows  the  method  of 
framing  between   the   windows,   the   piece  immediately  above 


1 


Fig.   t  =  .  — a   Twelfth-Centura    Half-Timber   House. 
1 n  Vioflet-le-Duc's  "Diet,  de  P Architecture.") 


THE     IVOR  I.  IV  S    HOMES. 


41 


them  and  the  cross-girder  which  is  above  the  window- 
head.  The  tenons  I  and  B  reach  above 
the  top  of  the  window-head  A,  and  in  so 
far  as  they  project  above  this  piece  they 
arc  inserted  into  the  mortise  E.  The  space 
on  each  side  of  the  window,  which  is 
shown  at  E,  is  let  into  the  upper  part  of 
the  post  G.  The  tenon  M  is  inserted  into 
the  mortise.  The  thoroughness  of  this  con- 
struction cannot  but  command  the  respect 
of  any   observer. 

The  cuts  are  clear  enough,  so  that  if 
any  one  who  is  sufficiently  interested  will 
look  at  them  for  a  few  minutes,  the}-  will 
be  readilv  understood.  Here  is  a  building- 
constructed  in  the  twelfth  century  —  a 
wooden  building  sketched  bv  Viollet-le- 
Duc  in  the  thirty-fourth  year  of  the  nine- 
teenth century.  It  should  put  to  shame  our  modern  idea  of 
wooden  construction.  We  have  buildings  erected  in  the 
eighteenth  century,  the  Old  Colonial  construction,  which  in 
a  few  years  will  have  fallen  into  decay.  In  France  wooden 
constructions  are  in  a  good  state  of  preservation  which 
had  their  origin  in  the  fourteenth,  fifteenth,  and  sixteenth 
centuries.     They  are   now  occupied   and   have  rental   value. 

It  is  not  a  question  as  to  the  selection  of  examples: 
it  is  one  of  discrimination.  When  we  present  buildings 
representative  of  the  domestic  architecture  of  Brittany, 
of  middle  and  northern  France,  of  Germany,  Switzerland, 
and  England,  it  is  not  with  the  idea  of  showing  variety 
or    the    cumulative     information     of    these    various    sections. 


Fig.    16.— Section. 


4- 


BEA  UTIFl  Z    HO  USES. 


(^iiite  the  contrary.  It  is  to  show  what  these  various 
countries  have  done,  with  independent  knowledge;  how 
they  have  operated  from  their  varying  standpoints,  and 
in  their  independence,  not  knowing  what  has  been  done 
elsewhere,  have  been  successful.  They  did  not  have 
the    literature    of  their  architecture   crowding  in    upon    them 

from  many  sources  every 
week.  Yet  without  such  facil- 
ities they  developed  an  archi- 
tecture much  more  successful, 
altogether  more  satisfactory, 
than  that  which  has  been 
developed  under  the  conditions 
of  the  present  time. 

Fig.  1 8  shows  a  half-tim- 
ber structure  at  Lissieux,  a 
very  picturesque  city  of  north- 
ern France.  It  was  built  dur- 
ing the  sixteenth  century. 

One  might  rill  many  pages 
with  the  beautiful  details  of 
this  structure,  but  the  general 
expression  of  the  exterior  given  in  this  illustration  must 
suffice.  The  framework  is  of  wood,  and  the  filling  between 
ot  brick.  The  carving  is  of  a  most  exquisite  character. 
All  ol  the  mouldings  are  from  the  hand  of  refined,  sensi- 
tive,  appreciative    artists. 

In  our  own  time  we  have  many  picturesque  shingle 
structures.  When  the}'  are  developed  naturally  by  an 
artist,  they  are  our  most  successful  domestic  structures. 
However,   it  is   not   a   question    of   shingles   or   cement,   brick 


Fig.    17.— Framing    Details 


f<^c<<<<<<<<<<<<. 


iffpffiitrMfiiii 


Fig.    18.  —  A    Half-Timber    House    at    Lissieux,    Sixteenth    Century. 
(From  "Architecture  Civile  et  Domestique,"  Verdier  et  Cattois.) 


THE    WORLD'S    HOMES.  47 

or  other  material.  It  is  one  of  the  quality  of  mind  which 
directs  their  use. 

In  Fig.  19  is  given  another  example  from  Lissieux.  In 
it  is  a  half-timber  structure,  with  the  various  details  ex- 
ecuted in  slate.  Other  portions  between  the  structural 
timbers  are  of  masonry  and  plastering.  In  the  left-hand 
corner  is  a  very  charming  example  of  ironwork  of  the 
seventeenth  century.  The  other  work  referred  to  belongs 
to  the  sixteenth  century.  It  must  be  borne  in  mind  that 
the  selections  given  do  not  pretend  to  be  of  the  best  or 
the  richest  of  the  various  types,  but  are  rather  typical 
examples  selected  from  a  collection  so  large  that  there  is 
great  difficulty   in  actually  presenting  the   most  satisfactory. 

The  history  of  half-timber  architecture  alone  might  be 
made  to  cover  many  volumes  larger  than  this.  These  first 
chapters  are  intended  to  be  illustrative,  to  show  how  the 
various  sections  of  the  world,  not  widely  separated  by 
distance,  though  distinctly  separated  as  to  means  of  com- 
munication, without  the  literature  of  architecture  which 
belongs  to  our  own  time,  were  enabled  to  develop  work 
of  a  character  more  artistic,  more  beautiful,  occupying  a 
larger  place  in  the  world's  history,  than  we  can  expect  to 
find   in  the  present   century. 

We  have  cause  for  humiliation  when  we  see  what  has 
been  done  in  domestic  architecture  in  France,  England, 
Germany,  Holland,  and  in  our  own  country  during  the 
Old  Colonial  period,  and  compare  it  with  the  work  of  our 
own    times. 


THE    WORLD'S     HOMES. —  Continued. 
CHAPTER    IV. 

BRITTANY. —  THE    PAINTER'S    COUNTRY. — FEW    OFFENSIVE    BUILDINGS. CHARACTER- 
ISTICS   OF    THE    PEOPLE.  —  THE    ARCHITECTURE,  THE    SCENERY,   AND    THE    PEOPLE 

HARM!  >NI<  >1  "S.  —  l;kl  1 I  >N      (  '<  (STUMES.  —  FURNITURE. EXTRAVAGANTLY     PICTUR- 

l  5QUE.  —  MALES!  K«  I1T.  —  A    CHIMNEY-PIECE     AT     MORI.AIX. BEDS. 

TI I  E  student  has  not  been  directed  to  that  part  of  western 
France  known  as  Brittany  to  study  the  picturesque 
in  architecture.  Painters  from  many  parts  of  the  world 
go  there,  and  Brittany  is  well  known  to  us  through  their 
canvases.  Jules  Breton,  one  of  the  great  poet-painters 
of  our  own  times,  saw  the  splendid  character  of  the 
Breton  peasant  so  clearly  that  much  of  his  best  work 
came  from  that  section.  Our  own  Walter  (jay  has  pre- 
sented, through  the  medium  of  his  brush,  great  thoughts 
which  were  inspired  by  Brittany.  In  that  beautiful  country 
are  many  American  art-students,  who  find  much  in  it 
to  inspire  them.  The  world  knows  its  beautiful  scenery 
and  its  splendid  people  through  their  efforts.  The  archi- 
tecture, however,  has  not  played  a  great  part  on  their 
canvases.  Yet  in  all  Europe  there  is  nothing  so  novel 
and  so  quaint  and  odd  as  this  Brittany  architecture. 
Withal,  there  is  much  of  it  that  is  very  beautiful.  One 
sees  many  towns  and  cities  in  Brittany  in  which  there 
is    not     one     offensive    structure.       All     are     interesting,    the 


THE     WORLD'S    HOMES. 


49 


large  portion  very  picturesque,  and  man)'  exceedingly 
beautiful.  A  glance  at  the  illustrations  used  in  this 
chapter  will  justify  all  that  I  have  said  with  respect  to  this 
architecture. 

Yet   to   understand    it    better  one   should   know  something 
of   the   people.     That  part   of  the  world    is  to-day    three    or 
lour    hundred    years    behind   ours   in    commercial   movements 
and   habits    of   living.       There    one    sees     men     and    women 
weaving   by   hand,   threshing    grain   with   flails,  cutting  wheat 
with   a   sickle,  sawing  lumber  by  hand.      The   manners   of  the 
people,  their  dress  and   their  architecture,  belong  to  the  same 
period  —  the    fourteenth    and   fifteenth   centuries.       They     are 
measurably  influenced   by  legends  which   date   from   the   ninth 
and  tenth  centuries.     The   costumes  of  the  men   and  women 
are    always    picturesque    and   nearly  always    beautiful.       The 
change   in   their  costume    is   by  geography   and    not    by  time. 
In   riding  or  walking  over  twenty   miles   of  country  one   will 
pass   through   four  or  Ave   sections   clearly  distinguished,   one 
from  another,  by  the  costumes  of  both  men  and  women.     The 
dress  in   each   particular  section   is  the   same  year  after  year 
yet  it  varies  with  every  small  section.     The  picturesqueness  is 
not  alone   in  the  form  of  the  various  garments,  but  as  well   in 
their  color.     They  often  abound  in   splendid  embroideries  and 
other  decorative   features.     The  design   of  these   costumes   is 
usually  very  pronounced,  but  they  are   handled   with   such   a 
spirit  of  refinement  and  delicacy  that  they  are  never  offensive. 
They  lean  very  largely  towards   exaggerated   effects,  yet  their 
decorative   spirit   is  tempered   with   that  artistic  quality  which 
steers  them  away  from  all   errors.     With  them  good  taste  is 
a   natural   characteristic.     All   that    they   do    is    the    work    of 
artists.      They  love    their  country    in    all    its    natural    beauty, 


50  BEAUTIFUL    HOUSES. 

their  architecture  in  its  picturesqueness,  and  their  costumes 
in   their  brilliancy. 

One  may  go  into  a  Breton  kitchen  with  its  dirt  floor 
and  a  table  fastened  to  legs  driven  into  the  ground,  and 
yet  see  at  the  end  an  immense  fireplace  with  graceful  out- 
lines, and  at  the  sides  beds,  armoires,  and  a  clock  decorated 
by  the  hand  of  an  artist  to  whose  equal  we  are  strangers. 
We  copy  his  work,  but  we  omit  from  it  that  vitality  and 
spontaneous  artistic  spirit  which  are  always  to  be  found  in 
the   architecture   of  this   section. 

There  is  a  definite  relation  between  the  architecture  of 
Brittany  and  the  country  itself.  The  people,  their  costumes, 
the  natural  scenery,  the  buildings,  and  the  very  atmosphere 
are  harmonious.  It  has  the  unity  with  its  surroundings 
which  we  so  much  miss  in  New  World  architecture.  We 
must  know  that  these  things  exist.  We  must  know  that 
there  is  an  architecture  harmonious  with  people  of  good 
character,  which  is  a  part  of  a  beautiful  landscape,  in  order 
to  realize  that  we  may  develop  along  the  same  lines  and  be 
receptive  to  the  influences  which  have  developed  good  archi- 
tecture  in   other  lands. 

Here  is  a  street  in  Auray  (Fig.  20).  If  we  should 
take  a  section  of  this  city  and  drop  it  down  in  Massa- 
chusetts or  Ohio,  how  incongruous  it  would  be!  The 
people,  the  life,  the  surrounding  country,  the  very  air  and 
sunlight,  would  render  it  queer,  unnatural,  unexpressive 
of  any  American  thought,  and  hence  inartistic.  We  may 
profit  by  comparing  this  architecture  with  that  of  other 
countries,  and  considering  our  own  demands  in  the  light 
ol  the  general  principles  which  have  developed  universal 
successes   elsewhere  ;  but  our    profit    will   not    come  through 


■  j— fe?L  ,_-■;'.  :      Uu->* 

-;    -  |S  : 


^-TlSflijSGte; 


Fig.  21. —  In  Malestroit. 
(From  "La  Vieille  France,"  A.   Robida.) 


THE     WORLD'S    HOMES.  55 

the    literal    transportation    of    Brittany,  designs    to    our    own 
States. 

I  have  said  that  the  architecture,  the  scenery,  the  peo- 
ple, and  the  atmosphere  are  harmonious.  This  is  because 
of  the  development  of  a  people  in  a  section  naturally  beau- 
tiful, who  have  been  sensible  to  that  beauty.  Whether  one 
meets  a  Breton  at  home  or  abroad,  he  always  speaks  of  the 
beauty  of  his  own  country.  The  recognition  of  this  has  led 
him  to  so  build  as  not  to  disturb  the  natural  picturesqueness 
of  the   country. 

The  land  is  undulating,  divided  into  man)-  small  farms 
by  means  of  stone  or  earth  walls  which  are  overgrown  by 
a  rich  vegetation.  Because  of  the  richness  and  luxuriance  of 
this  growth  in  the  parts  not  cultivated  or  otherwise  cared 
for,  there  is  something  almost  tropical  in  the  denseness  of 
vegetation.  In  the  many  valleys  are  small  streams  lined 
with  tall  Lombardy  poplars  and  rapidly  growing  trees.  Al- 
though the  country  is  rolling,  it  is  not  usually  so  abrupt  but 
one  rinds  beautiful  meadows  on  each  side  of  the  stream  ; 
nor  are  the  hills  so  steep  that  they  are  incapable  of  gen- 
eral cultivation.  The  elevations  are  sufficient  so  that  one 
may  often  see  great  stretches  of  country  divided  into  many 
small  farms  by  the  beautiful  walls.  The  varying  colors  of 
the  different  crops,  the  stretch  of  meadows,  the  long-sailed 
windmills  on  every  hill,  the  charming  farm  villages  of 
thatched  roofs,  the  spires  of  the  beautiful  stone  chapels  lift- 
ing their  points  from  among  the  trees,  the  calvaries  at 
the  roadside,  form  pictures  upon  which  one  never  ceases 
to  dwell.  The  chateaux,  standing  as  monuments  to  great 
human  events,  are   often   a  part  of  these   great  pictures. 

In   walking  along  a  roadway  and   approaching  a  town  of 


56 


BE  A I  "1  'I EL  L     HO  t  SES. 


any  size,  one  is  never  disturbed  by  abrupt  changes  from 
country  to  town  or  eity  life.  One  enters  the  city  of  Josselin, 
with    its   eight  or  ten  thousand  people,  its  great  chateau,  and 


Fig.   22. —  A   Shop  Window    in    Josselin. 


its  church  with  legends  enough  to  stock  a  volume,  without 
a  perceptible  change  in  sensation.  It  is  this  relation 
ol  an  architecture  to  the  people  and  to  nature  itself 
that  makes  it  so  supremely  satisfactory  to  an  artist.  The 
details  of  a  building  may  be  never  so  rich,  or  the  general 
structure  never  so  pretentious,  yet  if  it  cries  out  against  all 
that  is  around  it.  and  is  distinct  in  character  from  those  who 
occupy   it,   it   is   not  deserving  of  high   consideration. 

The   view   in  Malestroit    (Fig.   21)    is  typical   of  those  in 


7J/J-:     WORLD'S    HOMES. 


57 


many  Brittany  towns.  The  picture  shows  considerable 
detail  which  is  common  to  many  buildings.  It  indicates  an 
utter  disregard  of  perpendicularity  in  the  walls,  —  a  condition 
not  to  be  imitated  in  our  own  work,  vet  having  its  proper 
place    here.     The    street    in   Aura}'  previously  referred   to   is 


Fig.   23. —  Windows    in    HQtel    des   Voyageik>s    at   Morlaix. 
(From  "L.a  Vieille  France,"  A.  Robidu.) 


another  example  illustrating  the  same  idea.  The  little  pho- 
tograph of  the  shop  window  at  Josselin  (Fig.  22^  shows  a 
picturesque  store-front  and  some  crude  efforts  in  sculpture. 
They  are  the  master  and  mistress  who  founded  this  store. 
The  street  beyond  this  is  quite  as  interesting  as  any  which 
have  been  shown   as    typical    instances   of  Brittanv  building. 


58 


BEAUTIFUL    HOUSES. 


Fio\   23   is   given   because   it  shows   more   of  the  detail  of 
these  structures  than   has  been  given   elsewhere.      Fig.  24    is 


Fig.  24.— Chimnev-Pihce   in    House   of   Anne   of   Brittany   ai    Morlaix. 
(From  "La  Vieille  France,"  A.  Robida.) 


a  chimney-piece  in  the  house  of  Anne  of  Brittany  at  Mor- 
laix. The  tailpiece  of  this  chapter  gives  a  typical  illus- 
tration of  a  form  of  bed  very  common  in  this  country.  This 
one  has  a  seat  at  the  bottom  arranged  to  form  a  chest.  The 
bed  itself  is  double,  not  unlike  those  used  in  our  modern 
sleeping-cars.  The  beds  of  the  master  and  mistress  and 
the   younger    children    are    always    near  the   fireplace   in    the 


THE     WORLD'S    HOMES. 


59 


kitchen,  and  others  are  placed  around  the  walls  of  the 
room.  The  beaut)'  of  these  details  never  fails  to  appeal  to 
the  artist,  not  because  of  the  arrangement  itself,  but  be- 
cause of  the  masterly  manner  in  which  the  woodwork  of 
these   structures   is   decorated. 


Fig.   25. —A    Brittany   Bed. 
(Sketch  by  A.  Robida.) 


THE    WORLD'S    HOMES.  —  Continued. 

CHAPTER    V,* 

FRENCH      CHATEAUX. —  MILITARY      STRONGHOLDS.  —  PRINCIPLES     GOVERNING     THEIR 

CONSTRUCTION.  —  HISTORY.  —  PLAN     OF      COURCY.  MILITARY    BUILDING    AND 

ART.  —  A    BIRD'S-EYE    VIEW.  —  CHATEAU    OF    JOSSELIN.  INTERIOR    YIKWS.  

I'll  kkl  Kinds.  — CHAUMONT.  —  A    VIEW    OF    CHENONCEAU.  —  AZAY-LE-RIDEAU. 
THE    SOCIAL    CHATEAUX. 

THE  most  splendid  homes,  as  well  as  the  earliest  in  the 
modern  world,  were  the  castles  or  chateaux,  of  which 
those  of  France  are  the  most  notable  examples.  After 
Gaul  was  conquered  by  the  Northern  tribes,  the  victors  built 
themselves  chateaux  upon  the  almost  inaccessible  heights. 
At  the  foot  of  the  hill  clustered  the  hamlets  of  the  peasants, 
who  obeyed  the  master  above.  This  master,  in  return  for 
their  service,  gave  a  sort  of  protection,  one  which  was  at 
least  better  than  none  at  all,  one  which  measurably  protected 
them  from  the  neighboring  barons,  who  sought  to  conquer 
all  within  their  reach.  On  the  height  was  a  stronohold, 
surrounded  by  immense  walls.  Within  the  walls  were  not 
only  the  homes  of  the  baron,  usually  the  donjon,  but  also 
the  quarters  for  the  immediate  retainers,  the  storehouses, 
which  could  hold  a  year's  supply  of  provisions  of  all  sorts, 
the  stables,  kennels,  a  chapel,  etc.  In  time  of  war  the 
peasantry   below    were    often   allowed    to    seek   shelter   within 


This  chapter  was  written  by  Emily  Gilbert  Gibson. 
60 


THE     WORLD'S    HOMES.  61 

the  outer  walls  of  the  chateau,  to  camp  out  in  the  open, 
which  was  better  than  to  be  left  in  the  hamlet,  exposed 
to  the  fury  of  the  assailant.  But  in  war,  as  in  peace,  the 
family  of  the  baron  usually  lived  in  the  donjon,  the  strongest 
part  of  the  assemblage  of  buildings.  The  donjon  was  the 
stronghold,  and  generally  bore  no  relation  to  the  dungeon. 
Here,  isolated  from  all  but  the  most  trusted  servants,  the 
immediate  friends,  and  the  servants  of  the  Church,  was  the 
first  family  life  of  the  modern  world.  Here  the  wives  and 
daughters  worked  those  splendid  tapestries  which  are  to- 
day a  marvel  of  beauty  and  artistic  workmanship.  Here 
in  the  evenings  the  father  and  sons  recited  the  day's  exploits. 
Thus  developed  a  typically  beautiful  home  life,  in  which  old 
age  was  revered,  the  weak  protected,  woman  loved  and 
cherished.  The  very  institution  of  feudalism,  which  later 
worked  so  much  of  woe,  gave  the  best  conceivable  oppor- 
tunity for  developing  the  sweetness  of  domestic  life.  The 
strength  which  could  repel  the  assailant  maintained,  in  the 
midst  of  the  universal  bloodshed  of  that  period,  a  quiet  and 
repose    necessary  to    the    development  of  domesticity. 

Of  the  earliest  chateaux  nothing  remains  now  but  heaps 
of  ruins.  We  have  documents  which  give  sufficiently  lucid 
accounts  to  admit  of  a  thorough  knowledge  of  their  structure 
and  form.  But  they  were  rude  structures,  with  little  of 
the  artistic  about  them,  excepting  as  their  perfect  adaptation 
to  the  need  which  brought  them  forth  gave  them  a  strength, 
picturesqueness,  and  ruggedness,  which  were  both  beautiful 
and  artistic. 

In  the  thirteenth  century,  when  the  great  Gothic  cathedrals 
and  churches  were  built,  there  were  also  erected  a  large 
number  of  chateaux,  which  are  both  impressive  and  beautiful. 


BEAUTIFUL     HOUSES. 


At  the  death  of  Philip  Augustus,  in  1223,  one  of  his  most 
powerful  vassals,  Enguerrand  III.,  Sire  de  Courcy,  dreamed 
of  seizing  the  crown  of  France.  But  Queen  Blanche  forced 
him  to  take  oath  of  fidelity  to  the  infant  king,  Saint  Louis, 
and  nothing  was  left  to  Enguerrand  but  to  show  his  power 
in  the  erection  of  a  chateau  rivalling  the  Louvre,  which 
had  been  begun  by  Philip  Augustus.  From  1225  to  1230 
there  was  built  not  only  the  immense  structure,  which  is 
one  of  the  marvels  of  France  to-dav,  but  also  the  walls  of 
the  city  of  Courcy.      In  Fig.  26  is  given  a  plan  of  the  chateau 

and  town,  in  order  to  show  their 
relation,  which  was  typical.  The 
chateau  B  is  built  at  the  end  of  a 
steep  escarpment  on  the  most  in- 
accessible part  thereof.  The  city 
/4     C  is  at  the  other  end  of  this  escarp- 


Fig.  26.  —  Plan   of  ChXteau  and  Town 
of  Courcy. 

(From   Viollet-le-Duc's   "  Diet,    de   I'Archi 
lecture.'!) 


ment,  and  is  approached  by  three 
roads,  which  are  easily  found  on 
the  cut,  one  being  at  the  north, 
one  at  the  south,  and  one  at  the 
east.  A  is  a  fortified  esplanade, 
situated  between  the  city  and  the 
chateau,  for  in  those  times  the 
residents  of  the  chateau  had  small 
faith  in  the  fidelity  of  any  one,  much  less  in  that  of  a  whole 
city.  D  is  a  place  d'armes,  separated  from  the  esplanade 
by  a  deep  moat.  The  walls  which  surround  the  esplanade 
and  the   city  are   perfectly  plain. 

Fig.  27  is  a  plan  of  the  chateau  itself,  and  is  typical  of 
the  military  structures  of  the  whole  of  France  during  the 
entire    feudal    period.      The    only   entrance    is  by  the   passage 


THE     WORLDS    HOMES. 


63 


Fig.    27— Plan    of    Chateau    of    Courcy. 
(From   Yiollet-le-Duc's  "Diet,  clc   ['Architecture.") 


E  over  the  moat.  In  order  to  gain  the  point  G  it  was 
necessary  to  pass  four  sets  of  fortifications,  ~E',  E' ',  F,  and 
the  doorway  in  front  of  G.  The  passage  from  G  leading 
to    the    court    K    was    guarded    on    both    sides    by    the    two 


64  BEAl  TIFl  L    HOI  SliS. 

salles-de-garde,  H  and  II'.  The  donjon  B,  contrary  to  the 
usual  custom,  was  not  the  dwelling  of  the  family,  but  was 
reserved  for  military  operations  or  for  large  social  gatherings. 
In  it  was  a  large  circular  hall  which  could  readily  hold  a 
thousand  men.  It  was  the  custom  for  the  baron  (standing 
in  a  gallery  at  one  side)  to  address  his  retainers   in  this  hall. 

This  donjon  was  the  strongest  part  of  the  chateau,  and 
in  case  of  need  the  family  which  lived  in  the  apartments  at 
M  could  take  refuge  in  it.  So  strong  was  this  structure 
that  a  hundred  years  ago,  when  the  government  desired  to 
destroy  it,  a  large  quantity  of  gunpowder  was  placed  in  the 
basement,  the  explosion  of  which  only  cracked  the  walls 
slightly.  The  family  rooms  at  M  occupied  three  stories. 
They  were  given  this  location  because  it  was  the  least 
accessible  part  of  the  escarpment.  At  N,  on  the  first 
story,  were  the  storehouses,  and  on  the  second  a  large  hall. 
At  P  were  the  kitchens,  at  O  the  chapel.  This  chateau 
had  a  second  chapel,  A,  outside  the  inner  walls.  This  was 
contrary  to  the  usual  custom,  but  in  this  case  the  chapel 
belongs  to  an  earlier  period  than  the  chateau,  which  un- 
doubtedly accounts   for  the   innovation. 

Fig.  28  is  a  bird's-eye  view  of  the  assemblage  of  buildings, 
and  is  self-explanatory.  It  is  given  to  show  the  exterior  of 
the  walls.     Fig.   29   is  a  view   of  part  of  the   inner  court. 

This  chateau  is  a  good  illustration  of  the  statement  that 
any  structure  built  with  a  strict  regard  to  the  purpose  which 
calls  it  forth  is  artistic,  if  it  be  rationally  decorated.  On  the 
exterior  of  Courcy  and  all  other  strictly  military  chateaux 
there  are  few  windows,  and  all  the  decoration  is  utilitarian. 
The  only  decorative  features  of  the  exterior  walls  are  the 
crenelles  and  merlons    at    the  top,  which   were   placed   there 


THE     WORLD'S    HOMES. 


65 


Fig.   28— Bird's-Eye    View    of    Courcy. 
(From  Viollet-Ie-Duc's  "  Diet,  de  l'Architecture.") 


in  order  to  facilitate  the  use  of  missiles  and  to  protect  the 
defenders;  yet  what  could  be  more  picturesque  than  the 
walls  across  the  entrance  and  around  the  base  of  the  don- 
jon?    The    donjon    itself    is    decorated    with    machicolations, 


66 


BE  A I  77  FL  Z    HO  USES. 


through    which    to    drop    boiling  oil    and    red-hot    stones    on 
the    assailant,    and    with    windows   and    merlons    to   facilitate 

the  discharge  of 
arrows.  At  the 
very  top  there  are 
four  pinnacles 
which  seem  to 
have  been  placed 
there  only  to  sat- 
is f  y  the  e  y  e  . 
This,  again,  was 
an  innovation. 
But  even  without 
these  the  donjon 
of  Courcy  would 
have  been  a  no- 
ble and  artistic 
structure. 

On  the  outside 
all  is  prepared  for 
war;  all  is  grim 
a  n  d  imposing 
because  of  its 
strength.  On  the 
facades  facing  the 
court,  where  there 
was  comparative 
safety,  where  the  family  lived  and  the  gentler  emotions  of 
life  prevailed,  there  was  an  architectural  expression  ot 
these  conditions.  The  view  of  the  court  of  Courcy  shows 
this,  though  not  so  completely  as  do  the   chateaux  of  a  later 


Fig.    29.— Inner    Court,    Courcy. 
(From  Viollet-le-Duc's  "Diet,  de  l'Architecture.") 


THE     WORLD'S    HOMES.  71 

date.  The  beautiful  mouldings  along  the  buildings  on  the 
left,  the  rose  windows  and  other  decorative  features  of  the 
chapel  on  the  right,  are  all  expressive  of  tranquillity  and 
refinement. 

The  chateau  of  Josselin  was  once  a  better  exemplification 
of  military  operations  than  it  is  now.  The  great  exterior 
wall,  the  lower  part  of  which  belongs  to  the  ninth  century, 
formerly  had  hourdage  at  the  top  through  which  to  drop 
missiles  on  the  assailant,  and  the  stream  which  is  now 
separated  from  the  walls  by  a  roadway  then  washed  the 
foot  of  the  walls.  The  great  dormer  windows  in  the  upper 
part  of  the  exterior  have  been  added  within  recent  vears, 
though  they  are  in  the  style  of  the  fifteenth  centurv.  The 
wall  which  shows  to  the  right  of  the  illustration  (Fig.  30) 
formerly  continued  entirely  around  the  chateau  court.  It  is 
now  replaced  on  two  sides  by  a  low  wall  more  in  keeping 
with  the   times. 

The  interior  facade  (Fig.  31),  built  in  the  fifteenth 
centurv.  is  one  of  the  most  beautiful  in  the  world.  Weeks 
of  study  will  not  exhaust  the  variety  and  beauty  of  its 
detail.  The  whole  facade  is  in  the  granite  of  the  countrv, 
which,  as  shown,  was  most  elaborately  and  artistically 
carved  after  it  was  placed  in  position.  The  long,  low  wall 
is  made  interesting  by  the  great  dormer  windows,  no  two 
of  which  are  alike,  and  yet  this  variety  is  brought  into 
complete  harmony  by  the  skill   of  the   artist. 

Two  views  are  given  of  the  interior — one  of  a  bedroom 
(Fig.  32),  and  one  of  the  salon  (Fig.  t)^).  The  walls 
have  been  wainscoted  and  decorated  in  modern  style,  the 
floors  are  of  polished  wood,  the  hangings  and  furniture  are 
modern.     In   all  respects  this  old    military  structure  has  lent 


7- 


BEA  i  TIFL  Z    HO  USES. 


itself  wonderfully  to  the  demands  of  modern  living-,  and  the 
rooms  are  not  essentially  different  from  those  we  see  around 
us    on    every    side,    except     in     size    and    the    beautiful     oak 

ceilings.  The  real  dif- 
ference is  in  the  har- 
mony of  coloring  and 
the  refinement  of  deco- 
ration, and  this  makes 
the  difference  between 
commonness  and  beauty. 
This,  however,  shows 
but  little  in  a  photo- 
graph. 

There  is  no  military 
structure  in  France 
around  which  centres 
more  of  historic  interest 
than  Pierrefonds,  and  it 
is  not  less  interesting 
defensively  and  artisti- 
cally than  it  is  histori- 
cally. It  was  built  in 
1390  by  Louis,  Duke  of 
Orleans,  to  hold  the  ter- 
ritory against  Charles  of  Burgundy,  who  was  then  warring 
against  the  throne.  There  were  unlimited  resources  with 
which  to  build  the  structure,  and  the  architect  erected  one 
which  was  impregnable.  Many  times  it  was  besieged,  and 
succumbed  only  to  treachery.  It  stood  there  first  a  pro- 
tection to  the  Crown,  but  afterwards  became  a  menace, 
because   it  was  owned  by  traitors.     Then    Richelieu,   feeling 


Fig.    32.  — Bedroom,   ChSteau    of   JosSELif 


THE     II '( )A'L  D  '.V    //( )MES. 


75 


that  the  government  could  only  be  safe  with  this  strong- 
hold dismantled,  caused  it  to  be  destroyed.  For  many 
years  the  ruins  stood  there,  until  Louis  Napoleon  com- 
missioned Viollet-le-Duc  to  rebuild  it.  To-day  it  stands 
in  all  its  original  strength  and  beauty  —  the  most  complete 
monument     in     France.       There     is     not     space     to     give     a 


Fig.    33.  —Salon,   ChSteau   of  Josselin 


description  of  either  its  precautions  for  defence  or  the 
plan  of  its  various  parts.  In  Fig.  34  there  is  given 
the  entrance  to  the  structure,  and  in  Fig.  36  one  side  of 
the  inner  court.  The  first  shows  the  majesty  and  gran- 
deur which  followed  the  adaptation  of  this  exterior  to  the 
needs  of  war.  Where  there  is  any  decoration  it  is  refined, 
but  nothing  but  the  strictly  utilitarian  features  receive 
decoration.  The  view  of  the  interior  facade  shows  the 
richness   of  decoration   of  that   part    which   related   to   home 


76 


BEAUTIFUL    HOUSES. 


life.     Here    imagination  ran   riot,  and   there   was   produced  a 
structure  which  satisfied  the   mind  and  charmed  the   eye. 


Fig.    3=,.  — Chateau    of    Pierrefonds. 


There  are  many  of  the  old  feudal  structures  which  do 
not  adapt  themselves  to  modern  conditions  as  well  as  that 
of  Josselin.  In  the  old  royal  residence,  Loches,  the  walls 
are  of  the  most  uncompromising-  stone,  and  every  expedient 
had  to  be  adopted  to  render  them  homelike  from  the 
modern  standard.  The  most  successful  was  in  the  lavish 
use  of  the  old  tapestries  which  belonged  to  this  structure. 
The  walls  in  some  of  the  rooms  are  fairly  covered  with 
these  wonderful  productions  of  the  needle.  The  result  is 
grand    and    imposing.       This    method    of   decoration    is    also 


Fig.    37.      Bedroom,    Chateau    of   Chaumont. 


THE     WORLD'S    HOMES.  8 1 

used  to  a  great  extent  in  the  Chateau  of  Chaumont,  two 
interiors  of  which  are  given  in  Figs.  37  and  38.  The 
exterior  of  this  building  follows  the  general  idea  of  the 
feudal  chateau,  being  strong,  rugged,  and  imposing  on 
the  exterior,  though  here  there  is  more  decoration  on  the 
walls  than  in  the  earlier  structures,  such  as  Josselin.  The 
interior  court  is  small,  and  most  richly  and  beautifully  dec- 
orated. On  one  side  it  opens  on  the  river  Loire,  though  it 
is   perched  far  above   it  on   a  crag. 

After  the  sovereignty  was  well  established  in  France 
and  it  was  no  longer  possible  for  a  baron  to  war  with  his 
neighbors,  the  military  chateaux  had  no  further  cause  for 
existence.  About  this  time  Charles  IX.  made  his  expe- 
ditions into  Italy,  and  there  he  and  his  nobles  saw  the  light, 
airy  buildings  of  the  Italian  Renaissance.  As  a  result  there 
was  feverish  haste  in  the  alteration  of  the  old  structures,  and 
in  the  building  of  new  ones.  The  walls  of  the  old  chateaux 
were  partially  torn  out,  great  windows  built  in,  the  donjons 
often  destroyed,  and  everything  possible  was  done  to  adapt 
them  to  the  new  ideas  of  living.  The  result  was  not 
always  pleasing,  for  the  exteriors  of  the  old  structures  lent 
themselves  grudgingly  to   the   new   ideas   of  peace   and  social 

j°ys- 

The  Chateau  of  Chenonceau  (Fig.  39)  is  one  of  the  hap- 
piest examples  of  this  period.  The  exterior  walls  were  torn 
away,  the  donjon  only  being  left,  but  entirely  separated  from 
the  main  buildings,  the  main  structure  rebuilt  on  the  old 
ioundations,  and  an  entire  wing  thrown  over  the  river 
Oise.  This  latter  work  was  begun  by  Diana  of  Poitiers, 
and  finished  by  Marie  de  Medicis.  To-day  the  rooms  are 
such    as    may    be    found     in    any    large     domestic     structure 


8 2  BE, 1 1  "I'lFL  7.     HOI  '.S'A'.V. 

where  good  taste  and  an  adequate  sum  of  money  have 
directed  the  work.  The  exterior  is  unique  and  most 
charming. 

There  is  one  exception  to  this  general  statement.  Within 
recent  years  the  chateau  was  restored  by  a  woman  of  bad 
taste.  As  far  as  the  exterior  was  concerned,  the  work  was 
left  in  the  hands  of  a  competent  architect.  The  result  is 
irood,  and  the  structure  stands  to-day  as  left  three  hundred 
years  ago.  But  the  owner  undertook  to  decorate,  according 
to  her  own  taste,  the  long  picture-gallery  which  occupies  the 
wing  over  the  river  Oise.  On  this  noble  room,  which  is 
the  full  length  of  the  wing,  untold  money  was  spent,  but 
the  result  is  so  bad  that  it  is  known  as  the  "Chamber  of 
Horrors."  It  is  almost  needless  to  say  that  had  the  same 
fine  sense  which  directed  the  restoration  of  the  exterior 
prevailed  here,  there  would  have  resulted  something  of 
permanent  value  instead  of  what  must  some  day  be 
destroyed.  The  structure  is  now  owned  by  a  native  of  the 
West  Indies. 

Of  the  new  chateaux  built  in  the  style  of  the  Renais- 
sance, hundreds  of  which  are  to-day  found  in  France,  there 
is  perhaps  none  more  admirable  than  the  Chateau  of  Azay- 
le-Rideau  (Fig.  40).  Here  the  idea  of  defence  never  ex- 
isted.     All    is   peace,   quiet   beauty,   elegance. 

To  repeat  :  In  the  various  chateaux  shown,  there  is  not 
one  which  is  not  artistic  and  beautiful,  though  with  differ- 
ent kinds  of  beauty.  This  was  brought  about  through  the 
frank  adaptation  of  the  structure  to  the  need  which  called 
it  forth,  and  the  rational  decoration  of  the  motives.  In  the 
old  military  structures  it  would  have  been  useless  and  silly 
to   have   elaborately   decorated   the  exterior,  though    as   the   art 


THE     WORLD'S    HOMES.  89 

of  architecture  developed  these  parts  were  given  refined  and 
adequate  decorations.  It  was  always  the  structural  motives 
which  received  this  carving,  and  it  was  always  refined  and 
elegant.  The  history  of  the  people  of  France  can  be  read 
in  the  changes  time  wrought  in  the  erection  of  their  mili- 
tary structures.  In  them  we  see  the  changes  in  the  methods 
of  war,  the  development  in  the  art  of  architecture,  the 
growth  of  the  home  idea,  the  increase  in  the  power  of  the 
people,  and  the  corresponding  decrease  in  the  power  of 
the  barons.  But  under  all  circumstances  the  inherent  and 
studious  art  of  the  people  is  shown.  They  seem  unable  to 
produce  a  structure  lacking  in  real  artistic  and  refined  feel- 
ing. On  the  interior  facades  of  these  feudal  structures  we 
find  enough  of  art  to  inspire  beautiful  building  throughout 
our  country,  if  only  we  study  them  rationally  and  carefully. 


v\  ti'    I    I /  •    / 


■Wis 


• 


A   Bit   of   Decoration. 
(By  Louis  II.  Sullivan.) 


THE    WORLD'S    HOMES.  —  Continued. 
CHAPTER    VI. 

ENGLISH     DOMESTIC    ARCHITECTURE.  RELATION    OF    MODERN    TO    EARLY     WORK.  — 

SELECTIONS      FROM     HAMERTON's    PORTFOLIO. DOMESTIC     BUILDINGS      OF     THE 

SIXTEENTH  AND  SEVENTEENTH  CENTURIES. PICTURESQUE   DETAILS. —  FROM  THE 

GOTHIC    TO    THE     RENAISSANCE. SIX     GABLES. DECORATIVE     WOODWORK. 

PUGIN'S     GABLES.  THE    SPIRIT    OF     DOMESTICITY. WALTER    SCOTT'S    HOME. 

ONE   OF    NORMAN   SHAW'S   INFERIORS. 

MUCH  of  the  English  domestic  architecture  of  to-day  is 
of  the  same  general  character  as  that  which  had  its 
origin  in  the  fifteenth  and  seventeenth  centuries  in  that 
country.  The  only  material  change  is  in  the  elaborateness 
of  detail.  The  general  character  of  composition  is  practi- 
cally the  same.  Modern  English  domestic  architecture  is 
probably  more  satisfactory  than  that  of  any  other  country. 
The  modern  domestic  architecture  of  Germany  and  France 
is  far  from  pleasing,  and  most  of  our  American  architect- 
ure is  very  bad.  Much  of  English  domestic  architecture  is 
interesting,  and  only  a  small  proportion  of  it  bad;  therefore 
it  is  fair  to  say  that  the  domestic  architecture  of  the  present 
time  in  England  is  more  satisfactory  than  that  of  any  other 
country. 

In  speaking  thus  well  of  this  architecture  it  is  to  be 
feared  that  the  reader  may  think  that  the  English  architecture 
is  an  example  for  us.  While  this  is  true  in  the  broad 
sense,  we    must    understand    that   we    cannot    closely  imitate 


THE     WORLD'S    HOMES. 


91 


it.  English  methods  are  thorough,  studious,  not  over-brill- 
iant, but  on  the  whole  pleasing.  It  is  their  thoroughness 
and  their  quiet  methods  that  we  may  emulate.  One  rarely 
meets  the  sensational  in  their  domestic  structures.  Their 
work  is  more  picturesque  than  we  should  expect  from  the 
English  character.  Their  buildings  abound  in  gables,  irregu- 
lar roofs,  unsymmetrical  arrangements  of  windows,  broken 
wall-surfaces;  but  all  this,  which  adds  to  the  picturesque,  is 
done  so  carefully,  in  so  dignified  and  serious  a  manner,  and 
withal  so  naturally,  that  there  is  never  the  least  offence. 
However  picturesque  their  structures  may  be,  they  are 
always    dignified. 

In  the  preparation  of  a  short  chapter  intended  to  give 
an  idea  of  the  development  of  English  domestic  architect- 
ure, one  labors  under  the  same  disadvantage  of  a  wealth 
of  material  that  presented  itself  in  the  consideration  of  the 
domestic  structures  of  France.  There  is  so  much  that 
is  good,  so  much  that  might  be  inserted  with  profit,  that 
it    is   with    difficulty   that    a    choice    is    made. 

In  ffThe  Portfolio,"  edited  by  the  late  Philip  Gilbert 
Hamerton  in  London,  in  1887,  Mr.  Reginald  T.  Blomrield 
published  a  series  of  three  articles  on  the  half-timber  houses 
in  the  Weald  of  Kent  and  neighborhood.  Mr.  Blomfield's 
sketches  give,  in  an  ideal  way,  the  spirit  of  the  half-timber 
architecture  of  the  fifteenth,  sixteenth,  and  seventeenth 
centuries.  I  shall  make  a  few  selections  from  his  illustrations 
in  order  to  show  the  character  of  work  common  at  that 
time.  It  is  particularly  profitable  to  observe  the  difference 
in  detail  between  this  half-timber  work  and  that  of  other 
countries  to  which  I  have  called  attention.  It  is  interesting 
to  note  how  the  same   style  of   architecture  can  be  executed 


92 


BEAUTIFUL    HOUSES. 


in  a  splendid  artistic  spirit,  and  yet  vary  so  greatly  in  character 
and  detail  in  different  countries  during  the  same  period. 
We  should  be  encouraged  at  the  uniform  success  and  vary- 
ing character  of  this  architecture.  We  may  learn  from  this 
that  we  can  build  according  to  our  own  needs,  and,  through, 
serious  and  intelligent  consideration  of  what  we  have  to  do, 
develop  an  architecture  original  in  character  and  of  high 
artistic  merit.  We  can  gain  encouragement  for  our  own 
independent  efforts  from  the  great  variety  of  work  and  the 
uniform  successes  of  this  period.  The  English  domestic 
architecture  of  the  time  mentioned  followed  closely  the 
lines  which  guided  the  stone  building  of  that  time,  though 
with  such  changes  as  would  be  naturally  suggested  by  the 
use  of  another  material.  At  this  time  oak  was  very  plentiful, 
and  was  largely  used  for  the  framework  and  the  decorative 
parts  of  the  domestic  structures.  The  carpenters  of  this 
period  in  England  were  particularly  skilful.  There  are  large 
numbers  of  buildings  now  standing  as  monuments  to  their 
handicraft. 

Fig.  41  is  a  representation  by  Mr.  Blomfield  of  a  Kentish 
hall  of  the  fifteenth  century.  The  plan  in  one  corner  shows 
the  o-eneral  disposition  of  the  other  rooms.  This  great 
room  was  lighted  from  windows  at  the  sides.  It  was  heated 
by  a  fire  built  in  the  middle  of  the  room,  the  smoke  passing 
out  through  ventilators.  These  halls  were  large  living- 
rooms,  in  which  all  who  were  connected  with  the  household 
were  gathered  when  not  at  work  or  asleep.  During  the 
latter  part  of  the  sixteenth  century,  and  in  the  early  part 
of  the  seventeenth,  many  of  these  old  structures  were 
changed,  so  that  there  were  two  full  stories  and  an  attic. 
This    was    done    bv    running    floors     through    in     line    above 


Fig.   41. —  Kentish    Hall,    Fifteenth   Centuf 


THE     WORLD'S    HOMES. 


95 


the  top  of  windows.     At  the  same  time  that  this  was  clone 
tack    fireplaces    were    added    to    the    rooms,    so    that    many 


o    .  -(  ./■<. 


Fig.    42.  -  A   Seventeenth-Century    Hous 


SE     AT     HEADCORN. 


structures  of  an    early  date    had    chimneys   dating    from    the 
late  sixteenth  and  early  seventeenth  centuries. 

Fig.     42 
shows    a    tine 
old     structure 
of  the  seven- 
teenth century 
ig-  43   is  the   spandrel 
the    same    structure. 
e    form     indicated     by 
mis    spandrel,  and    the    class   of  deco- 
ration  used   in  it,  are  quite  common  to 
_  u   Tr  this    architecture.       It    often     happened 

that    one-halt   of  a    large    doorway  was   made    from   a   single 


oorwav 


FlG.    43. 


96 


BE  A  UTIFL  Z    HO  i  KES. 


piece  of  wood  by  selecting  a  tree  from  which  the  branches, 
as  well  as  the  main  trunk,  could  be  used.  This  method  is 
suggestive  of  a  naturalness  of  execution  which  cannot  but 
lend  interest  to  these  structures.  Fig.  44  shows  a  Renais- 
sance residence  at  Northiam,  in  Sussex.  With  a  floor  plan 
simple  in  outline,  we  yet  find  the  picturesque  wall  surfaces, 
which    the    builders    of    this    time     developed    in     a    natural 


Fig. 


manner.  The  lower  part  of  this  structure  is  of  brick,  and 
the    upper    part    half-timber. 

Fig.  45  tells  its  own  story  —  a  number  of  interesting 
houses  in  a  row.  In  the  gabled  front  we  can  readily 
imagine  that  the  curved  framework  was  selected  from  the 
branch  of  a  tree.  Used  in  this  way,  it  would  be  a  natural 
form.  Builders  are  now  going  out  of  their  way  to  secure 
such  effects.  Here  the  carved  branches  and  part  of  the 
trunk   lent  themselves   naturally  to  such  an  outline. 

In    the     transition    from    the    Gothic    to    the    Renaissance 


THE     WORLD'S    HOMES. 


97 


period,     there     was     less     change     in     the     character    of    the 
structures   than    one    might    imagine.      To    be   sure,  it  would 


r~^vh«i'«.  ban  r  Cr»»  b. 


Fig. 


hardly  be  exact  to  speak  of  buildings  such  as  we  have  been 
considering  as  Gothic.  All  that  there  is  of  Gothic  about 
them  is  the  detail.  There  is  nothing  constructive  in  this 
work  to  give  it  the  stamp  of  genuine  Gothic  architecture. 
However,  in  many  places  outside  of  England  there  were 
great  changes  in  outline,  even  in  the  domestic  structures, 
during  the  transition  from  the  Gothic  to  the  Renaissance. 
In  France  one  often  rinds  Renaissance  composition  and 
general  outline,  while  the  details  are  of  the  Gothic  period. 
This  is  particularly  true  of  a  great  deal  of  the  architecture 
of  the  earl}-  sixteenth  century.  Much  of  the  decoration  — 
mouldings  and  other  forms  —  was  strongly  Gothic,  while  all 
of  the  other  features  had  a  decided  leaning  to  the  form  of 
composition  which  afterwards  became  distinctly  Renaissance. 
The    result    was    somewhat     different    in    English     domestic 


98 


BEAUTIFUL    BOUSES. 


architecture.  The  transition  in  style  came  later  in  England 
than  in  France,  and  the  Renaissance  forms  were  used  to 
decorate  the  Gothic  outlines  rather  than  the  reverse,  as  was 
common   in   France. 

The  long  building  with  six  gables  to  the  front,  which  is 
illustrated  in  Fig.  46,  is  at  Bittenden,  and  is  of  the  date  of 
1673.  Its  form  and  general  composition  are  unquestion- 
ably Gothic,  though  the  mouldings  and  details  belong  to 
the     Renaissance     period.       An    interesting    quality     in     this 


Fig.    46. —  House    at    Bittenden,    Seventeenth    Century. 


structure  is  the  rigidness  of  its  floor  plan  and  its  pictur- 
esqueness  in  external  composition.  A  long,  relatively  low 
wall  with  practically  no  projections  in  it  would  not  be  the 
one  an  American  architect  would  select  as  the  motive  for 
a  picturesque  structure.  The  interest  is  derived  from  the 
bold  use  of  gables,  and  is  helped  by  the  variety  and 
character  of  the  framework,  brick,  and  other  constructive 
and  decorative  features  of  the  walls.  It  is  a  straightforward, 
bold,  successful  design.  The  directness  with  which  these 
gables  arc   used   immediately  brings   to    mind    the    analoo-ous 


THE     WORLDS    HOMES. 


99 


Fig.    47— Ford's    Hospital.    Sixteenth    Century. 
(From  Putin's  "  Gables.") 


composition  in  the  chateau  at  Josselin,  in  western  France. 
There  one  finds  a  long  facade  unbroken  in  plan,  yet  rendered 
wonderfully  picturesque  in  outline  by  ten  splendid    dormers. 

The  sketches  just  given  show  only  outlines.  I  shall 
now  reproduce  some  drawings  of  detail  made  by  Augustus 
Pugin,  architect,  and  published  in  book  form  in  1831.  They 
are  very  carefully  rendered,  and  show  the  rich  detail  which 
was  common  to  many  of  the  structures  of  the  sixteenth 
century. 

Ford's  Hospital,  shown  in  Fig.  47,  was  built  in  1529. 
It  is  a  splendid  example  of  the  domestic  architecture  of  that 
period.  The  mullions  and  decorative  woodwork  of  the 
windows  and  gables  are  executed  in  a  marvellous  manner. 
The  general  composition  is  exceedingly  good.     Before  giving 


IOO 


B li.  I  (.  7  '//•  Y  Z    //(9  6  rS£S. 


' 


48.  — Gable,    Ford's    Hospital. 
(From  Pugin's  "Gables.") 


other  details   it 
may    be    well    to 

state  that  the 
walls  of  this 
structure  were  of 
the  oak  frame- 
work shown,  filled 
in  with  concrete. 
Somewhat  later 
brick  came  into 
more  common  use 
for  this  purpose. 
Fig.  48  shows  one  of  the  beautiful  gables  and  the  carving 
over  the  windows 
of  this  structure. 
It  is  difficult  to 
imagine  anything 
more  satisfactory. 
It  was  certainly 
the  work  of  a 
great  artist.  Pri- 
marily there  is 
beauty  of  compo- 
sition in  the  gen- 
eral structure,  and 
the  details  are 
decorated  in  a 
most  masterly 
manner.  One  has 
a  feeling  of  great 

Fig.    49.  —  Bond's    Hospital,    Early    Sixteenth    Century. 

discouragement  in  (From  Pugin's  "Gabies.") 


THE     WORLD'S    HOMES. 


IOI 


Vv 


the    contemplation    of    a    design    of    this     character.      There 

is  a  delicacy  and  re- 
fined beauty  in  its 
detail,  a  v  i  g  or  in 
general  conception, 
which  separates  this 
work  by  a  great  gulf 
from  anything  which 
is  being  done  to-day. 
The  relation  of  the 
windows  in  the  dor- 
mers to  the  lower 
windows,  the  doorway, 
and  other  parts  of  the 
composition  is  so 
simple,  so  elegant,  and 
so  masterful  that  we 
become  despondent 
after  studying  it.  Fig.  49  is  an  elevation  of  Bond's  Hos- 
pital. It  is  hardly 
so  interesting  in 
composition  a  s 
Ford's  Hospital, 
vet  it  presents 
detail  of  the  same 
marvellous  char- 
acter that  is  found 
in  the  other  struct- 
ure. The  date 
of     this     building 

is    I^o6.       Fi°"S.  Z.O  FlG-    51— Gable.    Bond's    Hospital. 

^  &     *   J  (From   Pugin's  "Gables.") 


Fig.    50. —  Gable,    Bond's    Hospital. 
(From   Pugin's  "  Gables.") 


fil 


l-i 


s\ 


I02 


BEAUTIFUL    HOUSES. 


Fig.    52.  —  A   Coventry   Gable. 
(From   Pugin's  "Gables.") 


and  51  are  gables  belonging  to  this  building.  How,  with 
such  splendid  examples  before  it,  the  world  can  have  gone 
on   building  the   common   houses   which    are   on   every  hand 

it  is  difficult  to  under- 
stand. Yet  no  doubt 
in  the  city  of  Coventrv, 
which  abounds  in  the 
remains  of  this  splen- 
did half-timber  work, 
one  will  hardly  find  a 
single  structure  built 
within  the  last  century 
which  will  in  any  way 
compare  with  the  work 
of  the  earlier  time.  In 
looking  at  these  de- 
signs we  cannot  but  fear  that  the  spirit  of  the  great 
art-builders  of  that  time 
has  forever  left  the 
world. 

Another  of  the  Cov- 
entry gables  is  shown  in 
Fig.  52.  It  is  hardly  so 
brilliant  in  design  or  fine 
in  execution  as  the  other, 
yet  it  is  a  splendid 
example  of  the  great 
work  of  this  time.  One 
has  no  words  to  express 
his  admiration.  All  one 
can    do    is    to    look,   and     ponder    over    the    work    of   these 


Fig.    5?. —  A   Coventry   Gable. 
(From   Pugin's  "Gables." 


THE     WORLD'S    HOMES.  103 

great    artists.      Another    of    the     Coventry    gables    is    shown 
in    Fig.    53. 

The  spirit  of  modern  English  domestic  architecture  is 
nearly  that  of  the  architecture  of  our  own  country.  The  home 
spirit  permeates  the  United  Kingdom.  In  this  respect  it  differs 
greatly  from  France  and  Germany  at  this  time.  The  home 
as  it  is  known  in  America  is  not  understood  in  continental 
countries.  The  great  establishments  of  the  continent  are 
monumental,  impressive  in  outline,  magnificent  in  conception, 
but  far  removed  from  all  ideas  of  domesticity.  The  more 
modest  buildings  partake  of  the  rigidity  and  stiffness  which 
belong  to  their  grand  neighbors.  Either  that,  or  they  are 
apartment  houses  in  which  their  occupants  merely  eat  and 
sleep.  But  homes  in  the  sense  known  to  the  English  and 
Americans  are  not  appreciated.  The  same  ideal  of  homely 
domesticitv  that    belongs    to    the    cottage    runs    through    the 

*,  o  o  o 

great  establishments   of  the  United  Kingdom. 

The  ideal  home  can  be  better  represented  by  an  ex- 
ample than  a  definition.  One  who  is  interested  in  domes- 
ticity and  home  life  and  home  building  can  find  nothing 
more  charming  and  satisfactory  than  the  history  of  Sir 
Walter  Scott's  homes  and  home  life.  Everything  around 
him  partook  of  his  own  sweetness  of  character,  and  at  the 
same  time  was  rendered  picturesque  by  those  qualities  of 
mind  which  belonged  so  much  to  him.  There  was  the  ele- 
ment of  romance  in  everything  that  he  touched.  Abbots- 
ford  was  a  narrative,  and  in  it  and  through  it  ran  the 
poetry  of  his  nature.  But  his  home-building  character  had 
an  earlier  demonstration  than  in  that  completed  structure. 
Abbotsford  was  its  culmination.  One  of  his  homes  was  an 
old    border     tower,    and    in    its     little    sitting-room    he     once 


1 04  BE  A  C  TTIFUL    HO  USES. 

entertained  three  duchesses.  Mere  he  wrote  with  children, 
wife,  servants,  and  dogs  around  him,  sitting  in  the  little 
bow-window  which  looked  out  on  the  Tweed.  The  first 
house  at  Abbotsford  was  a  simple  cottage.  The  ground 
around  it  was  bare  of  trees,  but  was  immediately  set  out 
with  slips  and  planted  with  seeds  sent  by  his  friends  from 
all  quarters  of  the  globe.  With  the  success  of  his  novels 
Scott  changed  his  plans  many  times.  The  building  moved 
along  with  his  resources,  but  the  home  idea  was  never  lost 
during  its   transition   from  a   cottage  to   a  castle. 

One  can  see  in  Abbotsford  the  same  idea  which  brought 
forth  his  poems  and  novels.  Antiquarian  research  formed 
the  basis  of  both.  An  old  legend,  a  queer  or  interesting 
character,  combined  with  ideas  of  his  own,  in  his  own  in- 
imitable way,  formed  the  poem  or  novel.  A  block  of  stone 
from  the  door  of  Tolbooth  Prison,  bits  of  carving  from 
Melrose  Abbe}-,  carved  wood  from  Dunfernline  Kirk,  mo- 
saic pavements  from  Italy,  built  together  with  new  stones, 
placed  in  the  form  suggested  by  Scott's  imagination  and 
historieal  research,  formed  a  building  picturesque  and  ro- 
mantie  as  the  Lady  of  the  Lake.  One  cannot  but  feel 
that  Abbotsford  was  to  him  more  real  at  times  than  his 
literary  work.  It  eombined  the  legends  of  his  country  and 
the  romantic,  imaginative  qualities  of  his  own  mind  in  tangible 
form. 

When  we  look  at  an  architectural  production  like  Abbots- 
ford Castle,  the  most  natural  question  to  ask  is,  What  stvle 
of  architecture  is  it?  In  truth,  Scott's  castle  is  as  varied 
in  its  style  as  the  legends  with  which  he  stored  his  brain. 
It  is  a  kind  of  architectural  romance,  altogether  very 
picturesque   and   varied.     There   are   in   it    suggestions   of  the 


Fig.    54  —A    Modern    English    Interior. 
(By  Norman  Shaw,  architect.) 


THE     WORLD'S    HOMES. 


107 


heavy  Norman  architecture  of  the  twelfth  and  thirteenth 
centuries,  and  alongside  this,  and  at  times  a  part  of  it,  we 
have  Elizabethan  details  and  suggestions  of  the  perpen- 
dicular style,  and  again  choice  bits  of  the  early  English, 
all  arranged  in  a  most  picturesque  and  pleasing  way.  Thus 
we  have  an  architectural  romance  constructed  exactly  in 
the    same    manner    as    his    literary    productions. 

Fig.   54  is    a   modern  English   interior  by  Norman   Shaw. 


u  "  '  ■'- '.  ' *  °' 


/•  S" 


A    Decorative   Motive. 

(By  Louis  H.  Sullivan.) 


THE    WORLD'S     HOMES.  —  Continued. 
CHAPTER    VII. 

MODERN     ARCHITECTURE     OF     GERMANY.  DRESDEN     AM)    THE     ROCOCO.  —  NORTH 

(>F    THE    HAR'J'Z     MOUNTAINS.  THE    OLD     ROSE— TREE     AT     HILDESHEIM.  —  AX 

ARCHITECTURE     FULL    OF     FIXF    SENTIMENT.  IMAGINATIVE     ARCHITECTURE.  

TILE    KooFS.  —  CLEAN    PAVEMENTS.  —  DOORWAYS.  NATURAL    METHODS. 

THE  modern  architecture  of  Germany  is  not  especially 
interesting.  One  finds  there  many  beautiful  structures ; 
but  the  best  modern  work  is  not  found  in  that  country. 
The  student  of  architecture  need  not  feel  disappointed  if  he 
never  see  Berlin.  In  that  city  are  artistic  structures,  but 
there  are  those  of  the  same  general  character  elsewhere 
which  are  more  interesting.  Modern  German  archi- 
tecture is  largely  imitative;  there  is  little  that  is  original. 
The  foundation  principles  of  good  architecture  are  often 
disregarded.  There  are  in  Berlin  a  number  of  beautiful 
modern  structures  in  imitation  of  the  French  architecture. 
There  are  others  which  are  very  interesting  in  imitation  of 
the  old  building  at  Nuremburg.  But  why  go  to  Berlin  to 
study  the  early  Renaissance  of  France,  or  the  architecture 
of  Nuremburg?  It  is  infinitely  more  satisfactory,  eminently 
more  advantageous,  to  study  these  styles  where  they  origi- 
nally developed.  Berlin,  the  larger  part  of  Hamburg,  parts 
of  Hanover,  many  of  the  new  cities  of  Germany,  a  large 
part    of  Vienna    in    Austria,   are    unprofitable    for    study,  not 

10S 


Fig.    55— Butchers'    Guild    House,    Hildesheim. 


THE     WORLD'S    HOMES.  in 

because  these  cities  are  not  beautiful,  but  because  the  same 
style  of  architecture  which  we  see  there  is  in  a  much 
more    satisfactory    state    elsewhere. 

In  Dresden  we  find  the  rococo  architecture  in  quite 
as  satisfactory  a  condition  as  is  possible  for  this  style  to 
be.  It  is  arranged  exceedingly  well;  in  a  word,  it  is  the 
rococo  well  done,  and  is  interesting  ;  but  we  cannot  expect 
to  repeat  it.  We  should  let  it  rest  as  we  find  it  there.  It 
is  the  flower  of  a  decadence.  There  is  nothing-  in  it 
for    us. 

North  of  the  Hartz  mountains,  in  towns  like  Hilde- 
sheim.  Halberstadt,  Brunswick,  and  others  of  that  region. 
we  find  an  early  domestic  architecture  original  in  character, 
permanent  in  construction,  and  artistic  in  design.  This 
architecture  has  a  foundation  of  splendid  historical  tradi- 
tion. It  was  a  religious  centre  as  earl}'  as  the  year 
822.  The  churches  dating  from  the  eleventh  and  twelfth 
centuries  are  in  a  good  state  of  preservation.  There 
is  now  clinging  to  the  choir  end  of  one  of  the  churches 
in  Hildesheim  a  rose-bush  which  is  over  a  thousand 
years  old.  In  the  twelfth  century  when  the  church  was 
enlarged  a  bit  of  wall  was  built  around  the  bush  to  save 
it  from  destruction,  and  it  has  continued  to  grow  ever 
since.  There  can  be  no  question  but  that  the  senti- 
ment which  protected  this  vine,  and  which  built  and 
cared  for  the  splendid  religious  structure,  developed  the 
artistic  enthusiasm  found  in  these  people  throughout  their 
history. 

The  domestic  and  commercial  structures  built  durino- 
the  sixteenth  and  seventeenth  centuries  are  decorated 
with     carved     inscriptions     indicating    their     fine     sentiment. 


112 


BE  A  UTIFUL    HO  USES. 


Oftentimes  praise  is  given  that,  through  the  goodness  of 
God,  they  have  been  allowed  to  construct  and  occupy 
their    houses.       On   one    house    is    found    a    lengthy    inscrip- 


Jft& 


^»SMCSli^lZlMiM«i 


Fig.    56. 


tion  which  reads:  "Oh,  God,  how  it  always  happens  that 
those  who  hate  me,  to  whom  I  am  doing  nothing,  grant 
me  nothing  and  give  me  nothing,  but  still  must  suffer  me 
to    live.       If    they    think    I     am    wrong,    they    would     better 


THE     WORLD'S    BOM  IIS. 


113 


Fig.    57. 

(From  Luechner's  "  Ilolznrchitectur.") 


look  out  for  themselves. 
But  I  trust  God  and 
do  not  despair.  To  them 
who  deserve  it,  good 
luck  comes  every  day." 
There  are  many  carved 
panels  or  decorated  sills 
which  deal  with  mvstic 
subjects,  tell  stories  with 
a  moral,  picture  the 
saints,  extol  the  virtues, 
and  in  other  ways  bring- 
to  mind  the  dominant 
qualities  of  this  God- 
fearing people.  Again  we  find  coats  of  arms,  mottoes, 
inscriptions,  carved  images  of  the  occupants  and  builders 
of  these  houses. 
Altogether,  there  is  Plf|i'!ll|l|i|j/IHIH 
much  that  is  religious, 
mystical,  romantic, 
narrative,  and  personal 
in  the  decoration  of 
their  buildings.  All 
has  been  influenced 
by  an  impulse  so 
poetic  that  the  dec- 
orative work  is  devoid 
of      realism.       It     is 


teeming  with  imagi- 
nation. The  stories 
which     are     told 


Fig.    58. 
(From  Laechner's  "  Holzarchitcctur.") 


ii4 


BEA I  "///■(  Z    HOUSES. 


through    the    heart    and    hand    of    the    wood-carver    indicate 
clearly    enough    the    character    of    the    people.       Yet    it    has 

none  of  the 
directness  o  r 
rigidity  o  f  a 
historical  rec- 
ord.  T h  i  s 
work  is  dec- 
orative in  the 
highest  sense. 
It    is    truthful, 


Fig.    59. 
(From  Laechner's  "  llolzarchitectur.") 


romantic,  and 
beautiful.  In 
looking  over 
the  selections 
from  the  archi- 
tecture of  this 
region,  one 
may  note  with 
interest  and 
profit  that  the  decorative  parts  which  have  this  narra- 
tive and  emotional  quality  are  not  separated  from  those 
which  are  altogether  conventional  in  their  form.  One 
may  find  a  narrative  in  wood  in  immediate  contact  with 
decorative  forms  which  are  strictly  geometric  and  archi- 
tectural. Yet  the  decorative  spirit  so  closely  unites  these 
that  there   is  nothing  disturbing  in   the   composition. 

The  frontispiece  (Fig.  55)  of  this  chapter  is  of  a  butch- 
ers' guild  building  in  Hildesheim.  Fig.  56  is  a  section 
of  the  detail  of  that  structure.  This  building  is  con- 
sidered   the    finest    timbered    structure    in    German}7. 


—     

ir/A 

£;.-' 

^■1 

^s^* 
N^^ 

InM 


">. 


'iff 


m 


mmjtm 


Fig.    60.  —  House    in    Hildesheim. 


THE     WORLD'S    HOMES.  117 

Fig.  57  is  illustrative  of  an  opening,  circular  in  outline, 
secured  bv  means  of  braces  on  each  side.  Beautiful  deco- 
rative forms  are  shown  on  the  upright  posts;  on  the  right 
over  the  opening  are  the  busts  of  a  master  and  mistress 
of  the  establishment  suggested  in  low  relief.  Fig.  58 
indicates  the  corbel  projection  where  the  decoration  is 
suggestive  of  Gothic  detail  of  a  late  type.  Fig.  59  is  given 
for  the  purpose  of  showing  the  variety  of  form  and  detail 
which  could  be  used  to  decorate  the  same  constructive 
features;  viz.,  the  corbelling  of  the  successive  stories  one 
bevond  the  other.  Thus  while  we  find  in  this  part  of 
Germany  buildings  of  the  same  general  character,  all  having 
constructive  features  in  common,  there  is  never  an  im- 
pression of  monotony.  The  photograph  (Fig.  60)  shows 
buildings  constructed  during  the  latter  part  of  the  sixteenth 
century  in  a  manner  sufficiently  clear  to  indicate  the  treat- 
ment of  detail  as  well  as  the  roof  forms  and  other  features 
of  interest.  In  this  work  there  is  more  suo-o-estion  of  the 
detail  of  the  Renaissance  than  in  most  of  the  other  illus- 
trations which  have  been  given  in  this.  All  of  the  roofs 
of  the  buildings  of  this  period  are  of  tile  of  the  pattern 
shown   in  this  picture. 

I  especially  wish  to  call  attention  to  the  clean  pavements 
shown  in  this  photograph,  as  well  as  in  that  of  the  butchers' 
guild.  This  is  the  universal  condition  of  the  pavements  in 
this  part  of  Germany.  A  town  is  never  so  poor  or  so 
small    but    that    the    streets    are    well    cared    for. 

The  satisfaction  in  selecting  architectural  illustrations 
from  the  cities  named  is  that  any  one  of  them  represents 
the  general  character  of  the  buildings  of  that  region.  One 
can    hardly    go    amiss    in    making    a    representative     choice. 


n8 


BEAUTIFUL    HOUSES. 


There  is  very  little  difference  in  the 
degree  of  artistic  excellence.  The 
older  parts  have  size,  beauty  of 
outline,  richness  in  sculptural  deco- 
ration, and  wonderful  coloring  to 
{\  make  them  beautiful.  The  structural 
forms  are  simple  enough.  A  curved 
line  which  acts  as  a  supporting 
;!  brace  is  found  only  on  the  first  floor. 
The  sills  for  each  story  project  be- 
yond the  walls,  and  these,  in  turn, 
are  supported  by  decorative  corbels 
or  brackets.  The  upright  posts 
continue  from  the  lower  sill  to  the 
one  next  above  it.  They,  in  turn, 
are    braced   to    the    sills. 

An  examination  of  these  build- 
ings will  in- 
dicate clearly 
enough  that  we  could  not  displace 
any  of  the  decorative  features  with- 
out removing  a  vital  part  of  the  con- 
struction. All  is  decorative  construc- 
tion; there  is  no  constructed  decoration. 
In  this  is  realized  the  highest  state  of 
architectural  art.  Fiirs.  61  and  62  indi- 
cate  as  clearly  as  possible  some  of  the 
characteristic  forms  and  constructive 
features  of  this  architecture.  Fig.  63  is 
an  interesting  doorway  in  wood,  and 
shows    the    decorations    of    the    sills,    other    forms    of    radial 


Fig.    61. 
(From  Laechner's  "  Holzarchi- 

tcctur.") 


Fig.    62. 
(From  Laechner's 
architectur." 


THE     WORLD- S    HOMES. 


1 1 


decoration,  and  the  manner  of  handling  an  inscription.  A 
hasty  judgment  of  this  doorway  would  be  that  an  arch  form 
in      wood     is     not 


justified.      But     if 
this  construction  be 
e  x  a  m  i  n  e  d    more 
carefully   it  will   be 
seen  that  while  the 
opening    is    circular 
the    construction    is 
not     an     arch,    but 
rather     a     brace. 
No    effort    is    made 
to  suggest  the  arch, 
while     the     brace 
lines    are    clearly 
indicated.     The 
decoration    of    the 
chamfers,     or     the 
projecting  sills,  and 
that  of  the  brackets 
suggests    a    knowl- 
edge   of    Roman- 
esque forms.    These 
could  clearly  come 
from      the      old 
churches     of    the 
eleventh  and  twelfth 
centuries,  in  which 
this  region  abounds. 
These  cities  con- 


FlG.     63.  —  A      DOORWAY     OF     CARVED     WOOD. 
(From  I.ucchner's  "  Holzarchitectur.") 


I  2  O  BE.  I  (  T1FL  'L    HO  I  rSES. 

sist  entirely  of  buildings  of  this  character.  There  are  differ- 
ences to  the  elaborateness  of  the  detail,  but  never  an 
unsuccessful  structure.  All  are  beautiful.  While  they 
are  essentially  different  from  the  buildings  of  other  regions 
referred  to  in  this  book,  there  is  no  deviation  from  the 
mark  of  high  artistic  excellence.  This  section  is  original 
in  its  architecture  at  the  same  time  that  it  sustains  a  high 
artistic  standard.  It  is  for  this  purpose  that  the  selections 
from  France,  Germany,  Holland,  Switzerland,  England,  and 
the  early  architecture  of  our  own  country  are  made.  Each 
is  entirely  distinct  in  character,  yet  there  is  no  great 
variation  in  merit.  We  may  rind  encouragement  in  the 
fact  that  we  may  be  quite  as  original  in  the  work  which 
we  have  to  do.  Neither  the  held  of  originality,  nor  the 
possibilities  of  artistic  excellence  are  exhausted.  We  may 
follow  the  natural  methods  of  our  own  time,  and  yet 
under  the  proper  artistic  impulse  develop  a  domestic  archi- 
tecture quite     as   interesting  as  any  the  world   has  known. 

Fig.    64    is    characteristic    of   the    architecture    of    South 
Germany. 


THE    WORLD'S    HOMES.  —  Continued. 
CHAPTER    VIII. 

SWISS       ARCHITECTURE.  RELATION      OF      SCENERY      TO      A      NATK  >X'S      BUILDING.  

NATURAL      DOMESTIC     EXPRESSIONS.  ARTISTIC     FORMS.  NATURAL     COLORING. 

VARYING    METHODS.  CHARACTERISTIC    ILLUSTRATIONS. 

SWISS  domestic  architecture  is  another  natural  inde- 
pendent artistic  expression.  It  has  a  decided  style  of 
its  own.  Its  character  is  distinctly  marked.  Its  con- 
struction is  honest ;  the  decoration  is  the  work  of  an  artist. 
It  houses  an  industrious,  serious,  provident,  home-loving, 
independent  people.  There  is  something  about  a  high 
sentiment  which  makes  great  art.  While  Holland  was 
struggling  for  existence  she  was  producing  great  paintings 
and  artistic  buildings.  The  emotional,  religious  sentiment 
of  the  Middle  Ages  produced  a  universally  brilliant 
architecture.  The  stolid  seriousness  of  the  German,  the 
quiet  progressiveness  of  the  English  of  the  sixteenth  and 
seventeenth  centuries,  and  the  pronounced  domesticity  of 
the  Swiss,  each  found  expression  in  their  architecture.  Our 
American  architecture  must  come  in  the  same  way,  as  a 
sincere,  natural  expression;  it  cannot  be  forced.  It  cannot 
carry  with  it  our  mannerisms,  our  affectations  ;  it  will  not 
come  through  mere  etfort.  Hence,  it  may  be  slow  of 
development.  The  fact  that  it  becomes  less  easy  to  earn 
money  as  the  countrv  grows  older  will  help  the  progress  of 

123 


124  BEAUTIFUL    HOUSES. 

art.  It  makes  people  more  thoughtful  in  their  expenditures, 
and  added  thoughtfulness  in  any  direction  is  helpful. 
The  Swiss  peasants,  workers,  and  merchants  did  not  have 
in  mind  that  they  were  producing  great  art.  They  were 
not  seeking  to  be  individual.  They  did  not  build  broad, 
flat-pitched  roofs  because  they  harmonized  well  with  their 
scenery.  This  was  the  kind  of  roof  best  suited  to  their 
surroundings.  However,  one  cannot  doubt  that  the  won- 
derful scenery  created  the  love  for  the  beautiful  which 
unconsciously  developed  a  style  of  decoration  and  forms  of 
construction  in  keeping  with  the  character  of  the  people. 
These  people  have  now,  as  they  always  have  had,  a  sincere 
affection  for  their  country.  It  is  a  high  sentiment  such  as 
always  develops  good  art. 

While  there  is  a  general  character  belonging  to  all 
Swiss  houses,  it  is  true  that  each  canton  has  its  pecu- 
liarities of  decoration  and  methods  of  construction,  and 
hence,  in  a  way,  a  distinct  style  of  its  own.  In  one  section 
we  find  a  half-timber  construction,  which,  considered  con- 
structively alone,  is  not  greatly  different  from  that  of  some 
of  the  South  German  houses.  Yet  its  decorative  character 
gives  it  a  distinct  type.  These  half-timber  houses  are 
filled  in  with  stone  masonry,  and  are  plastered  and  white- 
washed. The  woodwork  is  dark-reddish  in  color  and 
makes  a  splendid  harmony  with  the  white  walls.  Another 
class  of  Swiss  building  is  allied  in  principle  to  block- 
house construction.  We  see  some  of  it  in  our  log 
houses  of  recent  years,  though  with  us  there  has  never 
been  an  attempt  at  decoration.  There,  however,  is  simi- 
larity in  constructive  principle.  In  these  houses  the 
timbers     are     dressed    on    all    four     sides,    and    the     corners 


THE     WORLD'S    HOMES. 


I25 


notched  together  with  projecting  parts  of  timber.  These 
projections  form  brackets,  consols,  pilasters,  braces,  all  of 
which  are  beautifully  decorated.  An  example  of  this 
architecture  is  shown  in  Fig.  65.  The  natural  forms,  the 
rich,  beautiful  decoration,  may  well  call  for  great  admi- 
ration.    The  house  is  deserving  of  careful,  thoughtful  study. 


'  '■■■  "-■.       .-Milim" 


Fig.   65.  —  House   at   Meiningen. 

We  may  emulate  the  spirit  if  not  the  methods  and  details  of 
this  great  work.  The  deep  shadows  cast  by  the  projections 
serve  to  preserve  the  natural  color  of  the  wood  in  the  parts 
best  protected.  Where  the  shadows  are  the  strongest  we 
have  a  rich,  natural  red,  and  as  the  sun  and  storm  reach 
the  other  parts  we  find  various   shades   of  gray  and   brown, 


126 


BEAUTIFUL    HOUSES. 


all  forming  a  perfect  natural  harmony.  The  covered  pas- 
sages of  these  structures  form  picturesque  and  interesting 
features. 

Another  type   of  Swiss  architecture   is    a  kind   of  heavy 


Fig.    66.  —  House    at    Meiningkn. 


plank  construction.  It  has  a  typical  illustration  in  Fig.  66. 
This  example  indicates  as  well  as  possible  that  the  dec- 
oration follows  the  true  nature  of  wood.  The  illustrations 
given  are  of  houses  of  the  seventeenth  and  eighteenth 
centuries.  Their  lasting  qualities  and  their  artistic  beauty 
show    the  fallacy  of  our  use  of  paint  as  a  wood  preserver. 

There  is  something  in  the  spirit,  though  not  in  the  de- 
tail, of  this  construction  and  decoration  which  is  suggestive 
of  the   Japanese. 


THE     WORLD'S     HOMES.  —  Concluded. 
CHAPTER    IX. 

OLD     COLONIAL    ARCHITECTURE. A    CLASSIC    DEVELOPMENT. CHARACTERISTIC    NEW 

ENGLAND      ARCHITECTURE.  LUXURIOUS      CHARACTER     OF     THE    OLD     COLONIAL 

IN      THE      SOUTH. THE      BEST      AMERICAN     EXPRESSION     OF      DOMESTICITY.  

ILLUSTRATIONS. 

THE  term  ''  Old  Colonial,"  as  applied  to  architecture,  is 
broader  in  its  significance  than  when  applied  to  a 
geographical  section  —  the  old  Plymouth  Colony.  The  Old 
Colonial  architecture  was  a  distinct  type  which  had  its 
development  in  the  newly  settled  sections  of  our  country 
during  the  eighteenth  century.  The  early  examples  of  this 
work  are  to  be  found  along  the  coast  line  from  Massachu- 
setts down  the  South  Atlantic  States,  across  the  Gulf,  and 
up  the  Mississippi  river.  Thence  this  style  of  building 
reached  the  interior,  so  that  now  we  find  many  examples 
in  the  States  immediately  east  of  the  Mississippi  river. 
The  severest  type  of  this  architecture  is  found  in  New 
England;  in  Maryland  and  Virginia  it  is  quite  sumptuous, 
and  through  many  of  the  South  Atlantic  States  this  same 
character  is  preserved.  The  earlier  architecture  of  the 
lower  Mississippi,  New  Orleans,  Natchez,  and  Baton 
Rouge  shows  the  French  influence,  being  more  monu- 
mental in  character  and  richer  in  detail,  and  in  other  ways 
indicating    its    Latin    origin. 

127 


128  BEAUTIFUL    HOUSES. 

In  Old  Colonial  architecture  are  used  classic  forms  in 
the  decoration  of  domestic  structures.  The  architectural 
work  of  New  England  was  largely  done  by  educated  Eng- 
lish carpenters.  It  was  careful,  thorough,  academic  house- 
building. This  is  the  best  known  example  of  an  architectural 
expression  of  the  character  of  a  people.  The  old  New 
England  house  and  New  England  history  are  variations  of 
the  same  expression.  It  may  be  that  future  generations  will 
say  that  the  heterogeneous  domestic  architecture  of  our  own 
time  is  the  truthful  expression  of  a  heterogeneous  people. 
But  this  is  not  for  us  to  say.  We  look  upon  the  early 
New  England  character  as  thoughtful,  refined  in  a  way, 
and  very  severe  and  exact.  We  find  the  architecture  of 
that  period  expressing  as  clearly  as  possible  all  of  these 
characteristics.  There  is  no  suggestion  of  the  picturesque 
either  in  the  personality  or  the  architecture.  In  this 
architecture  there  is  no  mere  prettiness.  It  is  truthful 
and  refined.  It  carries  with  it  a  certain  dignified  quiet 
beauty  and  nobility  which  always  come  from  concentra- 
tion. How  rarely  can  we  say  this  of  our  modern  domestic 
work! 

In  Maryland,  Virginia,  and  the  South  Atlantic  States 
this  early  work  assumed  richness  of  detail  and  often  a 
suggestion  of  the  picturesque  —  an  architectural  quality 
altogether  in  keeping  with  the  livelier  character  of  the 
people.  Through  the  slave  States,  notably  in  Kentucky, 
we  find  splendid  mansions  occupying  large  plats  of  ground 
in  the  cities  and  dignifying  the  highways  as  the  centres  of 
great  plantations.  This  architecture  adapted  itself  to  the 
dignified  living  of  the  wealthy  slave-owner.  In  Mobile  the 
early     merchants      built     their      mansions      on       Government 


THE     WORLD'S     HOMES.  129 

street  and  other  splendid  driveways,  and  we  have  there 
man)-  magnificent  establishments.  A  great  deal  of  the 
work  along  the  lower  Mississippi  was  planned  by  the 
French  architects  and  executed  by  imported  artists.  The 
plans  of  these  structures  conform  admirably  to  the  domes- 
tic and  social  life  of  the  times.  Go  where  we  may,  we 
rind  this  Old  Colonial  architecture  impressive  and  full  of 
stately  beauty.  The  dignified  social  intercourse  which 
we  are  taught  to  believe  belonged  to  that  people  and 
period  appears  to  have  been  a  part  of  the  general 
organization  which  developed  their  architecture.  In  the 
country  mansion  of  the  Southern  planter  we  find  the 
great  porch  in  front  with  its  classic  columns  extending 
through  the  two  stories  of  the  house,  forming  what  is 
known  as  a  gallery  on  the  second  floor.  Running  entirely 
through  the  house  is  a  wide  hall,  with  a  long  double 
parlor  on  one  side,  the  wall  of  which  is  decorated  with 
classic  pilasters  and  cornices.  The  richly  decorated  columns 
of  one  of  the  classic  orders  project  from  the  wall  on 
either  side  far  enough  to  divide  this  long  room.  The 
woodwork  and  plaster  are  usually  painted  white.  Rich 
fireplaces,  large  mirrors,  family  portraits,  busts,  and  bits  of 
statuary  decorate  the  wall.  In  the  French  section  of  the 
South,  the  furniture  of  these  establishments  usually  came 
from  France.  We  find  in  New  Orleans  to-day  second-hand 
stores  well  stocked  with  the  furniture  and  fittings  of  these 
early  magnificent  establishments.  The  external  details  of 
these  buildings  were  classic  in  form,  and  designed  by  well- 
trained   artists. 

The  fittings  of  the    New  England   structures  were   much 
quieter  in  character,  always  in  good  taste,  yet  rather  severe 


I3° 


BEAUTIFUL    HOUSES. 


and  prim.  The  material  was  good,  the  form  graceful,  but 
there  was  little  that  was  decorative  in  the  way  known  to 
the  Southern  architecture.  The  typical  New  England  fire- 
place is  well  known  to  all  of  us,  not  only  through  repro- 
ductions in  the  buildings  of  our  own  time,  but  by  pictures 
from  the  earlier  models.  It  is  pleasant  to  associate  the 
clean-cut  mental  products  of  early  New  England  with  these 
architectural  emblems  of  quiet  thoroughness.  This  early 
work  fulfils  all  of  the  conditions  of  good  architecture.  It  is 
expressive  in  a  beautiful  way  of  the  character  of  the  people 
of  its  time. 

In     Fig.    67     is    a    typical    example    of   an   Old    Colonial 

mansion.  In  this  instance,  the 
great  Doric  porches,  two  stories 
in  height,  are  at  either  side  of 
the  house.  Fig.  68  is  the  floor 
plan.  This  example  is  taken 
from  Edward  Shaw's  "  Rural 
Architecture,"  published  in 
Boston  by  James  B.  Dow  in  1843.  This  architect  gave  plans 
of  interesting  houses  of  this  general  character.  In  some  in- 
stances  he  took  a  floor  plan  and  gave  designs  for  the  exterior 
in  the  various  orders  —  the 
Doric,  the  Ionic,  or  the  Corin- 
thian. But  most  of  all  the  book 
abounds  in  carefully  con- 
structed details,  large  scale 
drawings  of  the  various  parts, 
full-sized  details  of  the  mould- 
ings, and  explicit  directions  for  producing  the  nicety  of 
detail     necessary    to    the    artistic^  development    of    his   work. 


Fig.    67.— Elevation. 


Fig.    68— Floor    Plan. 


THE     WORLD'S     HOMES. 


131 


It  is  only  through  such  care  and  thoroughness  that  we  may 
expect  to  develop  a  successful  art. 

Minard  Lafever  published  a  book  entitled  "The  Beauties 
of  Modern  Architecture,"  in  1839.  Of  this  work  he  said: 
"Notwithstanding  the  many  works  which  have  hitherto 
been  published  on  the  subject  of  architecture,  there  has 
none  yet  appeared  intended  exclusively  for  the  operative 
workman.  It  is  therefore  thought  proper  to  present  to  the 
industrious  and  ingenious  a  book  of  original  designs,"  etc. 
He  then  proceeds  to  give  a  large  number  of  details  of 
doorways,  windows,  cornices,  and  other  decorative  features, 
which  he  has  developed  in  the  spirit  of  a  true  artist.  In 
making  a  few  selections  from  his  work,  it  is  much  more 
difficult  to  determine  what  to  take  than  what  to  omit. 

Fig.  69  is  of  a  front   doorway,  as    chaste   an    example   as 
one  can  well  imagine.     This  illustration 
was  followed  by  a  large  drawing  show- 
ing   the    exact    form    of   even    the    most 
insignificant  mouldings. 

Fig.  70  shows  one  method  adopted 
by  this  artist  of  treating  the  design  of 
double  parlors.  There  is  a  great  tempta- 
tion to  make  other  selections  to  illustrate 
the  great  care  exercised  at  this  time  in 
developing  the  fine  details  necessary 
to  artistic  success  in  any  direction. 
Both  of  the  architects  referred  to  use 
principally  Greek  details  in  their  work. 
Both  Greek  and  Roman   were  used  in  the  Old  Colonial  work. 

There  are  many  workers  in  this  style  at  the  present 
time,  but  it  is  rare  indeed   that  we  find  work  that  does   not 


Fig.    69.— Doorway. 


l32 


BE  A  UTIFL  Z    HO  USES. 


_ 


a 


J 


show    the    influence  of    the    crude   architecture  which   is    on 
every    hand.      It    seems    that   educated   architects    should    be 

strong-    enough    to 
^     ■  -^M         avoid    such    influ- 

ence, but  it  is  rare 
indeed  to  find  select 
work  of  this  general 
class  executed  to- 
day which  does  not 
show  in  its  compo- 
sition and  many  of 
its  details  the  influ- 
ence of  the  unstudied 
and  carelessly  exe- 
cuted work  which  surrounds  us.  The  writer  has  known 
many  young  men  educated  in  architectural  schools  where 
only  classic  architecture  ;  is  taught,  and  has  noticed  that 
nearly  all  of  them  succumb  to  the  influence  of  common 
environment.  Modern  work  of  this  character  developed 
with  anything  like  the  fidelity  necessary  to  good  art  is 
exceptional.  The  example  of  modern  work  given  (Fig. 
71)    is    much    better    than    that    seen    on    every    hand. 


a 


Fig.    70.  —  Doorway    between    Parlors. 


<  a 


SOME    HOUSE    PLANS. 
CHAPTER   X. 

A      BRICK      HOUSE      WITH     A     STONE      FOUNDATION'.  FOR      A      NARROW      LOT. THE 

PROBLEM    OF     LIGHTING. A     NEW     CLOSET. RELATION    OF     THE    EXTERIOR    TO 

THE     LOCATION.  THE     DORMERS. THE     INSIDE     FINISH. MANTELS. 


A  BRICK  house  with  a  stone  foundation  and  a  slate  roof 
is  an  expression  of  solidity  that  appeals  to  many  peo- 
ple.    Fig.    72    is    such    a    house.     The    outline    is    carefully 
considered,      a  n  d 
while    the     details 
arc  relatively  sim- 
ple,  they    are    de- 
signed    w  i  t  h    the 


greatest   care 


in 


order  to  make  the 
most  of  the  limited 
opportunities  af- 
forded. 

The  floor  plan 
is  somewhat  con- 
ventional, and  not 
unlike  many  which 
are  found  through- 
out the  West  (Figs. 
73  and  74).     How- 


fig. 


135 


136 


Bi:  AC  TIF  LI.     HOUSES. 


ever,  the  effort  was  made  to  keep  it  simpler  than  is  often 
the  ease  even  in  a  plan  with  an  origin  as  straightforward 
as  this   one. 

The  lot  is  a  narrow  one.     There  is  a  tall  dignified  house 

on  the  south  side, 

and     a     cumber- 

s  o  m  e       brick 

structure    on    the 

north   which    ap- 

p  r  o  a  c  h  e  s    the 

north    line  very 

closely.      Both  of 

the  a  d  j  o  i  n i  n g 

houses    were    set 

within  fifteen  feet 

of  the    sidewalk. 

It  was   necessary 

to    place    t  h  i  s 


building  on  a  line 


Fig.    73-  —  First    Story. 


Fig.    74.  —  Second    Story. 


with  them  in  or- 
der to  give  a 
view  up  and  down  the  street,  and  also  to  prevent  its  having 
that  receding  appearance  which  always  follows  the  placing 
of  a  house  farther  back  on  a  narrow  lot  than  its  immediate 
neighbors.  It  was  necessary  to  consider  the  lighting  of  the 
middle    rooms    very    carefully.      The    other    buildings    beinor 

J  *  Oct 

so  close  to  it,  every  advantage  in  the  way  of  light  had  to 
be  accepted.  As  is  shown  by  the  position  of  the  stair- 
way (Fig.  75),  the  hall  window  is  particularly  large. 
The  dining-room  window  is  broad,  though  it  is  five  feet 
from  the   floor.      The  windows   on  the  side  are  of  the   ordi- 


SOME    HOUSE    PLANS. 


J37 


nary  kind.     In  the  sitting-room  there   is  a  large  window  over 
the  mantel,  which  is  indicated   in  the  photograph  of  the  side 
of   that    room 
(Fig.  76). 

The  rela- 
tion of  the 
kitchen  to  the 
rear  porch, 
the  pantry, 
cellar,  china- 
room,  and 
dining-r  00  m, 
is  clearly 
shown.  In 
the  side  hall 
there  are 
doors  opening 
into  the  sit- 
ting-room, 
dining-r  00m, 
and    china- 

Fig.    75. —  Looking    from    the    Parlor. 

closet.     There 

is  a  wash-stand  and  cloak-closet  in  this  room.  The  laundry 
is  in  the  basement.  The  heating-apparatus  is  located  under 
the  sitting-room. 

The  problem  of  lighting  the  second  floor  is  not  so  seri- 
ous as  the  first.  The  windows  are  nearer  the  roofs  of 
the  adjoining  houses,  and  for  that  reason  nearer  the  source 
of  light.  The  bath-room  is  separated  from  the  water-closet 
room  by  a  door.  Each  has  an  independent  connection  with 
the   half       In   the    attic    stairway  there   is  a  clothes-chute  to 


i3« 


BE  A  UT1FL  L    HO  USES. 


a  closet  in  the  basement.  The  closet  on  the  attic  stairway 
is  intended  for  brooms.  There  is  a  linen-closet  in  the  front 
hall.  The  closet  shown  in  the  alcove  needs  some  expla- 
nation (Fig.  77).  It  has  always  been  a  thought  of  the 
writer   that   a   closet    could    be   arranged    in   the    same    syste- 


Fig.    76.  —  The    Sitting-Room    Mantel. 


matic  way  that  is  common  to  desks  —  a  place  for  every- 
thing. A  great  many  things  are  hung  up  in  closets,  placed 
in  a  miscellaneous  way  on  shelves,  or  laid  on  the  floor, 
for  the  want  of  a  better  place  or  a  better  way  of  dis- 
posing of  them.  Dress-skirts  and  waists  and  other  apparel 
can     be    better    cared    for    spread    out    in    trays    or    shallow 


SOME    HOUSE    PLANS. 


l39 


1 1    i    '    ■  i 


i — x 1 

J I      I     I     I  i 


J 


0*s»wa?5 


□ 


Qwgt-fcS 


5wci_vso   1  bunted 


drawers  than   hanging  from   one   or   more    points  of   support. 

This    is    also    true    of    men's    clothing.      The     advantage    of 

compartments,  or 
pigeon-h  o  1  e  s  ,  if 
they  may  be  so 
called,  for  shoes, 
bonnets,  and  hats 
cannot  be  ques- 
tioned. Above 
the  drawer-space 
there  is  sufficient 
hanging-room  for 
all  purposes, 
though  with  the 
other  facilities  little 
hanging-  space  is 

needed.      The  right  kind  of  attention  has  not    hitherto  been 

bestowed  upon  closets. 


Tn<T)£>C  A^W&^XeKT 


H 

L 

| 

| 

— 

Fig.    77.  —  Dressing-Room    Closet. 


1 

□ 

□ 

□ 
□ 

R 

1 

= 

□ 

□ 
□ 

i>^^wc^r> 

□ 
□ 

D 
□ 

1    ' 
- 
- 

!     1 

- 

In  the  attic  there  is 
a  large  servants-room 
back  of  the  stairs,  and 
the  great  finished  attic- 
room  occupying  all  the 
space  to  the  front. 

The  general  thought 
in  the  design  of  this 
structure,  after  the  prac- 
tical considerations  of 
arrangement  and  light  were  considered,  was  to  lift  it  out 
of,  and  away  from,  its  surroundings.  It  was  necessary 
to    do    this    without    giving    it    great    height.       The    dignified 


Ci-CVftTiC* 

Fig.    78. — Closet  "with    Doors    closed. 


140  BEAUTIFUL    HOUSES. 

character  of  the  people  for  whom  it  was  designed  did 
not  admit  of  accomplishing  this  by  a  resort  to  brilliant 
means.  The  design  had  to  be  strong,  graceful,  not 
brilliant  in  color,  yet  with  a  sufficient  buoyancy  and 
refinement  of  detail  to  lift  it  above  a  depressing  sur- 
rounding. This  suggested  a  quiet,  not  greatly  projecting 
tower  on  the  corner — one  with  no  strong  horizontal  line 
until  it  reached  the  top;  a  vigorous,  upright  stem.  The 
corbelling  is  of  stone,  the  arches  and  material  above  of 
brick.  The  detail  is  subdued,  in  order  that  it  may  be 
viewed  in  the  mass  rather  for  any  particular  feature.  For 
that  reason  even  the  finial  was  kept  verv  quiet.  The  strong 
upward  movement  is  preserved  in  the  dormer.  In  the  gable 
next  to  it  there  is  no  marked  division  between  the  brick- 
work of  the  gable   itself  and  the   wall  below. 

The  caps  of  the  windows  are  of  brick,  so  that  the  color  of 
this  part  need  not  be  disturbed.  The  woodwork  is  painted  a 
dark  reddish-brown,  in  order  that  the  eye  may  not  be  sud- 
denly arrested  in  its  upward  movement  from  the  bottom  to 
the  top  of  this  structure.  Had  the  porch  cornice  been  carried 
straight  through,  it  would  have  neutralized  this  effect. 
However,  with  its  carefully  made  tracery  designed  rather 
brilliantly,  this  part  of  the  structure  indicates  to  the  world 
that  there  is  nothing  disheartening  even  if  one  is  somewhat 
crowded.  It  gives  the  building  a  verv  cheery  look  under 
the  circumstances.  A  heavy  porch  roof  coming  down  over 
a  porch  without  an  opening  in  the  gable  is  often  depressing 
to  one  who  occupies  the  porch,  though  the  occupant  may 
not  know  exactly  what  is  the  matter.  The  tracery  of  this 
porch  admits  light  into  the  front  window  at  the  same  time 
that  it  presents   a  very  pleasing  silhouette  from  the   parlor. 


SOME    HO  LSI']    /'LANS. 


141 


The  side  gables  are  designed  in  about  the  same  spirit  as 
those  in  front.  It  is  the  purpose  of  these,  the  dormers,  and 
the  roof  to  enliven  the  whole  structure,  and  make  one  for- 
get the  heaviness  that  is  all  around.  The  cheeriness  of  this 
is  heightened  by  the  easing  of  a  curve  at  the  foot  of  the 
rafter  which  rounds  out  the  slant  of  the  roof  before  it 
reaches  the  cornice  moulding.  This  is  a  universal  feature  in 
the  roofs  of  Brittany,  which  lends  much  to  their  interest. 
They  are  always  graceful.  It  is  pleasing  to  see  the  slant 
of  a  roof  end  with  this  little  sweep  at  the  bottom.  It  does 
away  with  all  of  the  rigidity  of  a  direct  and  formal 
termination. 

The  side  dormers  are  entirely  of  slate.  The  idea  in 
using  this  material  in  this  part  of  the  roof  was  to  avoid  the 
unrest  which  would  come  from  the  use  of  a  great  variety 
of  material.  The  use  of  slate  secured  the  picturesqueness 
of  outline  without  sacrificing  the  repose,  which  must 
have  been  the  result  had  a  great  variety  of  material  of 
varying    color    and    texture    been    used. 

So  much  for  the  exterior.  After  the  plan  was  made 
and  the  lighting  provided  there  was  no  great  difficulty  in 
treating  the  interior.  It  was  merely  a  question  of  the  refine- 
ment of  detail.  For  instance,  the  pattern  of  the  stairway  is 
rather  pronounced,  and  it  had  to  be  developed  in  a  fine, 
delicate  way  to  prevent  its  becoming  gross  and  aggressive. 
The  members  are  small,  the  mouldings  soft,  the  recesses 
light.  A  pronounced  outline  may  be  kept  in  subjection 
in  this  way.  It  is  simply  a  question  of  refinement  in 
little    things. 

Leaded-glass  is  in  the  large  window  above  this  stairway. 
The    o-lass   is   all   of  one    color,  a  soft  amber.      While   a  largfe 


142 


BEAUTIFUL    HO  USES. 


volume    of    light    was    desired,    direct    white    light    was    not 
wanted. 

The  view  of  the  outside  of 
this  window  (Fig.  79)  shows  the 
careful  designing  of  the  stone  de- 
tails. The  label  moulding  over 
the  arch,  the  finial,  and  the  lines 
surrounding  the  window  itself  as 
they  come  to  the  sill,  are  made 
with  brick  moulded  with  the  cor- 
ners cut  off,  as  is  shown  by  the 
section.  This  is  much  less  harsh 
in  effect  than  would  be  a  direct 
recess  on  the  side. 

The  top  of  the  dining-room 
window,  which  is  above  the  buffet, 
is  of  the  same  general  form  as 
the  one  just  mentioned.  Its  sill  is  on  a  line  with  the 
top  of  the  wainscoting,  which  is  five  feet  high.  The 
glazing  of  this  window  is  of  the  same  character  as  that 
mentioned  in  the  hall;  that  is,  cathedral  glass  of  quiet 
color,    set    in    geometrical    leads. 

The  sitting-room  mantel  (Fig.  76)  has  a  very  broad  breast 
—  eight  feet.  Nearly  all  of  the  face  below  the  shelf  is  of 
tile,  only  a  narrow  margin  of  wood  being  used  on  the 
corners.  The  woodwork  above  the  shelf  extends  to  the 
ceiling. 

The  mantels  of  the  second  Moor  are  exceedingly  simple. 
They  are  faced  with  white  enamel  tile.  The  doors  and 
casings  of  the  first  and  second  floor  are  given  as  much 
for  the  purpose  of  showing  their  simplicity  as  for  any  other 


Fig.    79.  —  Stair    Window. 


SOME    HOUSE    PLANS. 


H3 


reason.  All  of  the  woodwork  used  in  this  structure  is  of 
quartered  white  oak,  excepting  one  north  bedroom,  which 
is  of  bird's-eye   maple. 

Figures  80  and  81    are  doors  in  this   house. 


ftT0*tfX~Qxxti 


Fig.    80. 


2PDtoct  £W 
Fig.    81. 


SOME    HOUSE    PLANS.  —  Continued. 
CHAPTER    XI. 

A     CENTRE-HALL     PLAN.  FRAME     BUILDING.  A     LITTLE     ROOM     FOR     CLOAKS    AND 

WRAPS. DECORATIVE    FORMS. INTERIOR    PHOTOGRAPHS. EXTERNAL    DETAILS. 

CREEK    MOULDINGS. 


the   building. 


NEARLY  every  one  tries  to  build  for  less  than 
the  cost  of  the  material  and  labor  which  go  into 
While  this  thought  is  not  definitely  formu- 
lated, there  is  a  fixed  mental 
limit  in  cost  and  a  maximum 
demand  in  requirement  which 
represent  a  value  in  excess 
of  the  cost  limit.  Naturally 
there  has  to  be  some  kind  of 
a  compromise  before  the  build- 
ing is  erected.  It  is  true  that 
one  person  may  get  a  much 
better  house  for  a  given  sum 
than  another,  yet  this  is  not 
because  he  gets  the  house  for 
less  than  it  costs,  but  because 
he  has  a  good  design.  A  poorly 
designed  house  is  worth  less 
than     it    costs.       The     material 

F.G.     to.-FlRS!      STORY.  Wh5ch       8"°eS       illt0       ll:      iS      PUt      int° 

144 


SOME    HOUSE    PLANS. 


1 45 


inconvenient  or  ugly  forms.  Manifestly  this  same  material 
and  labor  might  be  put  into  a  convenient  and  attractive 
form  and  cost  no  more  money.  Thus,  one  who  builds 
from  a  good  design  carefully  conceived  and  executed,  gets 
more  for  a  given  expenditure  of 
money  than  another,  because  he 
gets  the  same  amount  of  material 
and  labor  into  better  form.  A 
good  plan  is  always  in  style. 
The  rational  architecture  of  the 
thirteenth  century  is  in  better 
form  to-day  than  any  which  has 
followed  it,  because  it  was  de- 
signed in  a  high  spirit  of  ration- 
ality, and  executed  by  artists. 
Good  taste  is  perennial. 

The  plan  given  in  Figs.  82 
and  83  is  a  house  with  a 
central  hall,  a  general  type  of 
plan  which  commends  itself  to 
the  majority  of  people  inter- 
ested in  housekeeping.  A  cen- 
tral hall  carries  a  feeling  of  sumptuousness,  freedom, 
and  proper  isolation  which  is  not  associated  with  other 
plans. 

The  reception-hall  idea  has  very  often  been  carried 
beyond  the  reason  which  gave  it  birth.  It  was  brought 
into  prominence  and  popularity  as  a  relief  from  the  old 
side-hall  plan.  These  halls  were  mere  passages.  Usually 
they  were  not  more  than  seven  feet  wide,  and  rarely 
less     than     twenty     feet     long.       Seven     times     twenty     are 


Fig.    83.  —  Second    Story. 


146 


BE  A  UTIFUL    HOUSES. 


one  hundred  and  forty.  Twelve  times  twelve  are  one 
hundred  and  forty-four.  The  arehitects  said:  We  will 
give  about  the  same  area  that  was  in  the  old  side- 
hall,  and  you  will  have  a  better  room.  This  is  a 
splendid  thought  if  rationally  developed.  But  where  the 
reception     hall    is    made     very     large,     with     a     front    room 


Fig    84. 


separated  from  it  by  a  mere  screen  of  spindle  work,  the 
whole  front  of  the  house  is  practically  stair  hall.  As 
ordinarily  arranged,  one  can  see  a  hat-rack  and  all  that 
goes  with  it  from  any  part  of  these  two  rooms.  This 
reception-hall      idea,     when     carried     to     an     extreme,     has 


SOME    HOUSE    PLANS. 


H7 


Fig.   85.  — Looking    from    Parlor   to    Sitting-Room. 


unprotected  openings  into  a  room  which,  merely  for  the 
purpose  of  designation,  is  named  a  library?  or  to  other 
rooms,  the  openings  to  which  are  often  tilled  with  ropes, 
strings,  or  spindle  work,  so  that  in  fact  there  is  only  one 
great  room  on  the  main  floor,  other  than  the  kitchen  and 
dining-room.  This  is  the  extremest  form  of  the  reception 
hall,  and  it  makes  a  second-floor  sitting-room  a  necessity. 
It  is  an  artificial  development  made  possible  by  the  class  of 
people  who  are  always  abreast  of  the  fads,  and  who  oper- 
ate from  impulse  rather  than  reason. 

The  house  with  a  centre  hall  has  a  parlor  on  one  side  of  it, 


i48 


BEAUTIFUL    HOUSES. 


a  sitting-room  and  dininsr-room  on  the  other,  and  baek  of  the 
stairway  a  little  smoking-room,  library,  or  work-room.  The 
rooms   can    be    separated    from    one    another    or    the   hall    by 


Fig.    86. —  Looking    into    Stair    Hall. 


sliding  doors.  Then  the  sitting-room  maybe  a  sitting-room  in 
fact,  the  parlor  a  reception-room  in  the  rational  acceptance  of 
that  term.  One  can  live  on  the  first  floor  of  such  a  house  and 
not  disturb  the  various  movements  of  household  affairs.  In 
the  front  part  of  the  hall  there  is  a  little  vestibule,  and  connect- 
ing with  it  a  circular  tower  which  forms  a  room  for  cloaks  and 
wraps.  The  hall  is  divided  by  two  lines  of  carefully  designed 
fretwork.     The   patterns   are  taken   from  old   Byzantine  floors 


SOME    HOUSE    PLANS. 


H9 


of  the  sixth  century.  They  are  carefully  developed  in  oak, 
and  give  very  interesting-  silhouettes  against  the  light.  The 
sliding-door  openings  are  decorated  in  the  same  way.  Details 
of  these  are  shown  in  the  sketches  which  accompany  this  plan. 
While  the  same  general  style  of  pattern  is  used  in  the 
doorways  as  in  the  hall  decoration,  there  is  an  anachronism 
in  the  use  of  the  fleur-de-lis  and  the  ermine  as  the  central 
figure  of  the  geometrical  Byzantine  outlines.     The  mantel  in 


Fig.    87. —  From    Parlor    to    Stair    Hall. 


the  sitting-room  has  the  outline  of  some  of  the  old  Dutch 
mantels,  and  the  decorations  are  of  the  general  character 
of   those    mentioned    elsewhere.      A    purist    might  object   to 


15° 


BE  A  UTJFUL    HO  USES. 


Fig.    88.  —  Sideboard. 


these  mixtures,  and  say,  Why  not  take  one  style  and 
follow  it?  Yet  why  follow  it?  Some  of  the  best  archi- 
tecture that  the  world  knows  is  a  mixture.  The  best 
things  have  not  been  done  by  following  decorative  motives 
merely  because  they  belong  to  a  particular  style.  In 
looking  at  the  designs  for  the  decorative  woodwork 
which  has  been  described  and  illustrated,  one  would  hardly 
discover  that  its  origin  was  Byzantine.  Yet  by  comparing 
the  designs  witli  the  originals  one  can  readily  determine 
their  source.  The  adaptation  is  free,  as  it  should  be. 
In  this  instance  it  is  successful.  The  stairway  decoration 
is    of  the    same    <reneral    character. 


SOME    HOUSE    PLANS. 


I5I 


The  relation  of  the  various  rooms  in  the  back  part  of 
the  house  is  clearly  indicated  on  the  plan.  The  stairway 
to  the  cellar  is  a  very  convenient  arrangement.  It  o-0es 
down  to  a  level  six  inches  above  the  grade,  at  which  point 
is    a   door    to    the    outside   and   a    landing    the    full    width  of 


Fig. 


Parlor    Mantel. 


the  door.  Thence  one  can  go  to  the  cellar.  Thus  it 
serves  the  double  purpose  of  an  inside  and  outside  cellar- 
way,  and  has  a  decided  advantage  over  the  ordinary  out- 
side  flat  cellar-door. 

The    second    floor    is    planned    according    to    the  general 
principle  which   controls   all  of  the   plans  of  this  book.      The 


J5^ 


BEAUTIFUL    HOUSES. 


servants'  room  is  separated  by  a  door  from  the  front  part 
of  the  house;  the  rear  stairway  continues  to  the  attic. 
The   water-closet    room    and    bath-room    are    separate;    there 


Fig.   go.  —  A    Bedroom    Mantel. 


is  a  clothes-chute  from  the  bath-room  on  the  second  floor 
to  the  cellar  ;  in  the  rear  hall  is  a  large  independent 
linen-closet;  there  are  two  closets  for  the  principal  front 
room,  and  one  large  closet  for  each  of  the  others;  the 
attic  is  finished  in  one  large  room  over  the  body  of  the 
house,    and   a  tank-room   over  the   rear  part. 

The    laundry    is    in    the    cellar,    which    also    contains    the 
servants'     water-closet     and     the     water     motor     which     lifts 


SOME    HOUSE    PLANS. 


r53 


cistern  water  to  the  attic.  The  heating  apparatus  is  under 
the  centre  hall,  and  is  provided  with  an  electric  regulator 
which  maintains  a  uniform  temperature  in  the  house 
throughout  the   winter. 

The  exterior  of  this  building  is  a  perfectly  simple 
expression  ol  the  general  internal  arrangements.  The  floor 
plan  was  made  first,  and  the 
exterior  is  its  natural  clothing:. 
Its  distinctive  character  is  se- 
cured solely  by  the  character 
of  the  detail  which  decorates 
the  various  constructive  features. 
With  respect  to  the  external- 
wall  construction,  it  may  be  said 
that  the  foundation  walls  reach 
to  the  under  side  of  the  first- 
story  window-sills,  and  thus 
show  an  added  height  of 
foundation.  The  upper  walls 
are  formed  by  covering  the 
studding  first  with  seven- 
eighths-inch  flooring,  then  with 
paper,  and  finally  with  the  outside  covering  for  the  first 
and  second  floors,  in  the  manner  indicated  on  the  sketches 
(Figs.  91  and  92).  The  sizes  of  the  various  materials 
are   shown. 

The   mouldings  of  the  various    parts    are    constructed    on 


Fig. 


Fig.    g2 


*54 


B  EA  i  'T1FL  X    HO  USES. 


the  same  principle  as  those  referred  to  in  connection  with 
another  structure.  That  is,  the  Greek  idea  of  light,  soft 
curves  with  sharp,  tine  ineisions  to  catch  the  light,  is 
followed  as  closely  as  possible.  While  the  general  form  of 
a  dormer  or  the  tower  might  be  that  of  a  chateau  of  the 
sixteenth  century,  they  are   decorated  with  Greek  mouldings. 


Sitting-Ri  m  m    Window, 


A  separate  larger  photograph  of  the  front  sitting-room 
window  is  given  to  show  the  treatment  of  the  wood  deco- 
ration  at  this   point. 

On  the   north  side   of  the  house  there   is  a  large   window 
the  full   width  of  the  stair  hall,  with  about  the  same   outline 


SOME    HOUSE    PLANS. 


155 


as  the  window  in  the  sitting-room  (Fig.  93).  It  is  glazed 
with  two  lio-ht  tints  of  cathedral  glass,  and  admits  larere 
quantities  of  properly  tempered  light  into  the  hall.  In 
this  connection  it  may  be  well  to  say  that  it  is  not  pleasant 
to  walk  from  the  light  front  end  of  a  hall  into  the  dark 
back  end.  It  is  much  more  exhilarating  to  move  into 
brighter  light,  and  it  is  altogether  more  hospitable  to  pre- 
sent such  an  opportunity. 


SOME    HOUSE    PLANS.  —  Continued. 
CHAPTER    XII. 

A      WIDE      CENTRAL      HALL      OPEN      AT     EACH     END.  LARGE     ROOMS.  A     PICTUR- 
ESQUE     STAIRWAY.  COLOR      SCHEMES      IN      DECORATION.  DESCRIPTION      OF 

FLOOR    PLAN. 

THE  public  likes  a  name.  People  like  to  be  told 
that  a  building  belongs  to  a  certain  style  of  archi- 
tecture. Such  a  characterization  simplifies  matters,  gives 
directness,  and  is  therefore  popular.  The  man  who  has 
wall  paper  to  sell  is  pleased  to  say  that  he  can  deco- 
rate a  room  for  his  customer  in  the  style  of  Louis  XIV., 
or  that  of  the  Empire.  The  customer  then  knows  what  he 
has,  is  able  to  call  it  by  name,  and  is  therefore  gratified. 
It  often  happens  that  in  a  relatively  modest  house  there  is 
found  an  Egyptian  room,  a  Moorish  room,  one  in  the  style 
ot  Louis  XVI.,  and  an  Old  Colonial  room.  This  simple 
designation  makes  it  easy  for  the  owner  to  tell  his  friends 
and  neighbors  what  he  has.  But,  seriously,  this  question  of 
style  in  buildings  is  often  considered  in  a  very  honorable 
and  proper  way  by  people  who  are  very  much  in  earnest. 
They  are  anxious  that  all  structures  should  be  what  they 
call  pure  in  style;  that  is,  if  a  building  is  designed  in  Italian 
Renaissance,  that  everything  in   connection  with   it   should   be 

exactly  what  the   Italian   architect  would    have   made   it  at  a 

156 


SOME    HOUSE    PLANS. 


157 


given     time.       Many    very    precise    and    scholarly    buildings 
are    constructed    in    this    way. 

But  in    travelling    through    the    European    countries,    one 
rinds   comparatively  few  of  the    earlier    buildings    absolutely 
pure    in   style  ;    that  is,  structures    which    were    begun    with 
a  definite    idea  in   view,  finished   according  to  that  plan,  and 
left  in   that  condition.      On  the   other   hand,    it    is  very  com- 
mon to  find,  among  the  earlier  structures,  those  which  were 
much    changed    and    altered    during    their    construction,    and 
which  have  been  repeatedly  added  to  and  altered  since.     The 
Cathedral   of  Tours    was    finished   in    the  thirteenth    century. 
In  the   fourteenth  century  the   facade  and  several  of  the  front 
bays  were  removed.     The   new  facade  was   not  finished  until 
early    in     the     seventeenth 
century.       One     finds     the 
marks     of     the     early    four- 
teenth-century     spirit,      and 
changes   in   style  by  decades 
down    to    the     early    seven- 
teenth   century.      There    are 
Gothic   door-ways    and   win- 
dows  in   the    lower    part    of 
the  structure,   and   above  the 
architecture    of   the   Renais- 
sance with  its   classic   forms. 
This  sort  of  thing  is  common, 

to  a  greater  or  less  degree,  in  nearly  all  early  buildings. 
Some  of  the  notable  structures  where  this  has  not  been 
done  are  not  so  worthy  of  admiration.  This  admixture 
of  style  has  given  vitality  to  these  buildings  when  it  other- 
wise   might    have   been    lacking.     Where    the    style   is  pure, 


i58 


BEAUTIFUL    HOUSES. 


there  is  often  a  preciseness  and  a  definiteness  of  expres- 
sion that  is  not  altogether  interesting.  The  lesson  to  be 
drawn  from  this  is  that  our  successful  architecture  will 
not  come  from  the  accurate  following  of  certain  definite 
styles,  but  from  a  knowledge  of  how  and  why  all  these 
things  are  done,  combined  with  a  spirit  of  independence 
and  an  artistic  perception  of  the  demands  of  our  own  time. 
In  this  building  one  will  find  many  details  and  forms 
which  remind  him  of  the  style  of  Francis  I.  (Figs.  94  and 
95).     There   is  much  in  the   details  of  this  composition  which 

belongs  to 
that  period  of 
t  h  e  Renais- 
sance. On  the 
other  hand, 
the  spirit  of 
the  work  of 
the  time  of 
Francis  I . 
could  not  be 
wholly  car- 
ried through 
this  structure. 
It  would  be  quite  absurd  to  undertake  absolutely  to 
transport  such  details  into  a  wooden  building.  The  con- 
struction of  a  window  or  a  door  frame  in  wood  lends  itself 
in  a  rather  indirect  way  to  the  decorative  forms  which 
belong  to  that  style.  One  who  is  honestly  striving  to  do 
good  work  does  not  care  to  force  a  matter  of  this  kind. 
Nevertheless,  one  finds  in  the  Francis  I.  facade  at  Blois,  in 
certain    features  in   the   Chateau  at   Chenonceau,  and  some  of 


SOME    HOUSE    PLANS. 


159 


the  buildings  at  Orleans,  work  in  this  style  constructed  in 
stone  which  must  unquestionably  have  been  suggested  by 
wood  details.  A  great  deal  which  in  the  original  is  con- 
structed  in   stone   is  quite  as  well   adapted  to  wood. 

One  who  studies  this  style  feels  the  same  justification 
in  the  liberal  use  of  these  motives  that  he  does  in 
the  use  of  the  more  severely  classic 
motives  in  the  Old  Colonial  structures. 
The  Old  Colonial  decorative  forms  were 
in  stone,  yet  no  one  can  question  the 
great  success  which  has  attended  their 
use  in  wood.  It  has  been  done  with 
a  candor,  an  honesty  and  freedom, 
which  have  brought  their  own  reward. 
The  Francis  I.  work  is  somewhat  more 
decorative,  certainly  more  exuberant  in 
its  method,  and  well  suited  to  properly 
located  American  homes.  But  it  is  well 
to  understand  in  connection  with  its  use 
in  this  instance  that  there  is  no  pretence 
of  great  fidelity.  The  forms  of  the  mouldings,  the  out- 
lines of  the  dormers,  to  some  extent  the  disposition  of  the 
pilasters,  the  placing  of  the  first-story  string  course,  and 
the  general  treatment  of  the  first-story  walls  are  Francis  I. 
in    character. 

On  the  other  hand,  the  porch  is  somewhat  more 
severe  in  its  treatment  than  is  usuallv  found  in  the  archi- 
tecture of  that  time.  However,  the  building  is  undeniably 
wood  in  its  construction,  finish,  and  decoration.  It  carries 
the   stamp  of  a  frame   house. 

A  number  of   details   of  the   exterior  are  given,   in   order 


2=2 


Fig.   96. 


i6o 


BE  A  UTIFUL    HO  USES. 


that  those  interested  may  see  that  the  construction  is  good 
as  wood  construction,  independent  of  its  relation  to  any 
style.  On  the  whole,  these  details  are  much  less  elaborate 
than  those  frequently  used  in  the  architecture  of  Francis  I. 
In  the  adaptation  of  this  style  to  this  house  there  was  pri- 
marily the  limitation  in  cost,  and  secondarily  the  difficulty 
of  securing  the  proper  execution  of  rich  detail.  One  fre- 
quently has  to  restrain  himself  because  of  the  impossibility 
of  securing  artists  capable  of  executing  elaborate  details. 
One  must  be  contented  ordinarily  with  mere  form  inde- 
pendent of  the  decorations  which  were  associated  with  the 
original.       It    is    much    better,    however,    to    have    a    perfectly 

fair  surface  than  one  covered 
with  badly  executed  forms. 
It  must  be  the  mission  of 
the  art  schools  to  train  voung; 
men  and  women  capable 
of  doing  a  high  grade  of 
artistic  decorative  w  ork. 
Until  that  time  we  shall 
have  to  content  ourselves 
with  the  execution  of  simple 
outlines. 

In  a  structure  ol  this  kind, 
where  a  good  deal  is  made 
of  the  roof,  where  the  dor- 
mers, chimneys,  ridges,  and 
decks  are   handled  in  a  deco- 


FlG      97. 


rative  way,  one  can  afford  more  of  repose  in  the  lower 
part.  If  there  is  the  opportunity  of  decorating  the 
lower    parts,    it    is    well    that    it    be    done     in    a    mild,    sober 


SOME    HOUSE    PLANS. 


161 


spirit,  in  order  to  develop  what  is  essentially  inter- 
esting in  itself.  This  idea  is  carried  out  in  a  manner 
almost  brutal  at  the  Chateau  of  Chambord.  The  lower  part 
of  the  building  is  almost  gross  in  its  handling,  while  every- 
thing  above  the  upper  cornice  line  is  brilliant  in  outline 
and  highly  decorative  in  detail.  If  the  same  spirit  had 
been  followed  in  the  lower  part  the  building  would  have 
been  lacking  in 
repose,  which 
is  happily  not 
true  in  this 
great  structure 
as  we  now  rind 
it. 

Fig.  96  is  an 
elevation  of  one 
of  the  dormers. 
Fig.  97  is  a 
detail  of  the 
front  porch. 
There  can  be 
no  question  but 

that  a  careful  consideration  of  all  the  little  details,  the 
mouldings  and  the  decorative  forms,  is  absolutely  essen- 
tial to  artistic  success.  The  architect  must  give  them 
the  same  quiet,  thoughtful  attention  that  a  capable  artist 
gives  his  picture.  If  this  is  not  done,  the  material  and 
labor  which  go   into  the  building  are   misplaced  —  wasted. 

This  house,  like  all  others,  was  planned  without  a  very 
definite  regard  to  the  exterior.  There  always  is,  of  course, 
an  unconscious   thought   in   the  arrangement  of  a  floor   plan 


Fig.   98. —First-Story    String   Course. 


ibz 


BE  A 1 7 1FL  Z    HO  1 7SES. 


which  measurably  directs  one,  so  that  there  is  no  great  diffi- 
culty in  putting  the  exterior  into  presentable  form.  This 
building  (Figs,  ioo  and  101)  has  a  centre  hall  fifteen  feet 
wide,  which  extends  from  front  to  rear  of  the  building.  At 
the  rear  of  the  hall  on  the  stair  landing  there  is  a  properly 
divided  opening  which  occupies  the  full  width  of  the  hall. 
Practically   it   is   one   window   with  live   divisions. 

The    stairway  (Fig.    102)    gallery  and  the  window  which 


^T-CTToN 


is  behind  it  are  the  central  features  in  this  composition. 
The  great  hall  would  not  be  interesting  without  some- 
thing of  this  kind  handled  in  a  decorative  way.  Contrib- 
uting to  the  general  effect  is  a  large  mantel  with  fireplace 
(Fig.  103).  To  the  front  are  the  vestibule  and  the  small 
screen-room,  where  one  places  wraps,  overshoes,  etc.  With 
this  hall  thus  emphasized,  one  has  a  basis  for  an  interior 
composition.      The    long  parlor    on  the   one    side,   the   sitting 


SOME    HOUSE    PLANS. 


163 


and  dining  rooms  on  the  other,  group  well  around  the  central 
feature.  In  arranging  a  plan  of  this  character,  the  question 
is    not    altogether    one    of   convenience,  but    is    as   well    one 


Fig.    100— First   Story. 


Fig.    ioj.  —  Second    Story. 


of  artistic  composition.  Not  only  should  the  convenient 
disposition  of  the  halls  and  rooms  be  considered,  but 
their  arrangement  in  a  satisfactory  manner  when  viewed 
solely  from    an   artistic    standpoint 

Standing  in  the  middle  of  the  hall  after  one  passes  the 
front  door,  the  most  interesting  view  is  toward  the  fireplace, 
the  stairway,  gallery,  and  great  window  beyond.  There  are 
subsidiary  pictures  on  either  side.  One  is  the  sitting-room, 
with  its  mantel,  windows,  decorative  wall-surfaces,  and 
furniture.  The  other  is  the  parlor,  with  its  fittings  and 
furnishings.      Looking  beyond   and  to  one  side  is  the  dining- 


164 


BE  A  UTIFUL    HO  USES. 


room,  which  is  naturally  a  very  brilliant  composition.  There 
is  nothing  moie  beautiful  than  such  a  room,  with  its  great 
table  and  stately  chairs,  its  sideboard  next  to  the  large 
wall-surfaces,  and  the  large  fireplace  at  one  end.  One  can 
do  nothing  to  a  dining-room  of  fair  size  to  take  away 
from  this  stately  quality.  The  mere  placing  of  the  table 
and    chairs    in    the    centre    of    the    room,    and    the    naturally 

geometrical  setting  of 
a  table  with  its  china 
and  silver  and  glass, 
give  a  dignity  and 
a  preciseness  which, 
with  its  natural  beauty 
of  color,  nearly  al- 
ways make  a  dining- 
room  one  of  the  most 
artistic  compositions 
about  a  house.  This 
dining-room  is  fin- 
ished in  mahogany 
stained  a  rather  dark 
red.  The  walls  are 
almost  a  sage  green; 
the  ceiling  a  rather  lighter  green,  enlivened  with  deco- 
rative figures  in  silver.  The  wainscoting  is  about  five 
feet  high.  Little  is  made  of  the  sideboard  architecturally. 
It  is  more  like  a  part  of  the  wainscoting  projecting  into 
the  room,  and  forming  a  kind  of  enclosed  table.  There  are 
the  shelves  above,  and  plain  surfaces  to  which  one  may 
attach  plates  or  racks  whereon  may  be  placed  glass  or 
silver    ware.       There    is    nothing  so    nice    about  a  sideboard 


Fig.    102.  —  Stairway. 


SOME    HOUSE    PLANS. 


165 


as  what  goes  on  it,  the  glass,  the  china,  and  the  silver, 
and  it  is  fitting  that  the  architectural  part  should  not  com- 
pete with  what  is   intended  to   render  it  decorative. 

The  main  hall  has  an  oak  wainscoting.  Its  wall  coloring 
is  tan.  The  decorations  of  the  sitting-room  and  parlor  on 
either  side  are  in  lighter  shades 
of  the  same  color,  the  parlor 
beino-  rather  more  brilliant  than 
the   other  rooms. 

The  connection  between  the 
kitchen  and  dining-room  in  this 
house  is  underneath  the  gal- 
lery of  the  stairway.  From 
the  china-room  one  may  go  to 
the  cellar,  or  to  a  vestibule 
which  leads  to  the  rear  porch. 
This  vestibule  opens  into  the 
kitchen  as  well  as  into  the  china- 
room.  There  is  a  driveway  back  of  the  house.  The  vesti- 
bule and   china-room  form  a  convenient  passage  to  the  front 

hall.  It  is  intended  that  the  passageway 
to  the  cellar  under  the  main  stairway 
shall  be  principally  used  in  going  to 
the  billiard-room,  which  is  under  the 
dining-room.  The  arrangement  of  the 
china-room  itself,  with  its  glass-faced 
cupboard,  sink,  and  tables,  is  clearly 
indicated    in    the   plan. 

Fig.    104. 

The  second  floor  (Fig.  101  )  has  a 
fireplace  in  the  hall  over  the  one  below  ;  in  the  principal 
bedrooms    the   grates  of  the   lower  floor  are  repeated.     Two 


Fig.    103.  —  Hall    Mantel. 


= 

l^.^-O^*:*^  ■- 

*.-T 

1        ■        1       1        1        . 

!    .    '    ■    ■       •    ,    ' 

I'l'l'i'i 

1   '    1    '    ■    '  ■-J-r- 

- 

I       1 
1       1 

1       1 
1       1 

1             ! 
1             1 

1 

1 

1 66 


/>'  EA  i  7TIFUL     HO  USES. 


=r=f 


mantels     are     pictured     in     Figs.    104     and     105.       Some     of 
the    closets    are    like     those     described     on     page    139.       The 

bathroom  connected  with  the 
independent  water-closet,  the 
store-closet,  and  other  features 
are  developed  with  the  highest 
regard   for  detail. 

The  side  hall  on  the  south 
affords  a  direct  passage  to  the 
attic   without  entering  the    main 


Fig.   105. 


hall.      In   the    attic   there    are   two    bedrooms,   a    large    room 

occupying    nearly 

one-half    of     the 

floor  surface,  and 

a   store    and    tank 

room    over     the 

bath-room    and 

water-closet. 

The   finish    of 
the    doors    and 
windows  is   prop- 
erly     designated 
in  Fig.  106.     The 
panels     of    the 
doors     are     large 
and     entirely    flat 
and   plain.     The 
wood     is     oak, 
birch,  or  mahog- 
any,   either    fin- 
ished naturally  or  slightly  stained.     In   either  case  the  grain 


Fig.    106.  —  Door   and   Details. 


SOME    HOUSE    PLANS. 


167 


of  the  wood  is  relied  upon  for  the  beauty  of  the  finish. 
There  are  no  mouldings  or  other  disturbances  of  the 
plain  surfaces.  The  lower  panels  of  the  doors  are  flush  ; 
that  is,  there  is  no  recess.  The  entire  face  of  this  part  of 
the  door  is  per- 
fectly smooth. 
Though  a  line  is 
shown,  as  indi- 
cated by  the 
drawing,  it  is 
merely  the  joints 
in  the  veneers  and 
not  a  break  in 
the  surface.  The 
woodwork  u  nder 
these  panels  has 
to   be    constructed 


with    the    greatest 

care.     The  details 

thereof  are  rather 

too     complex     for 

description      in     a 

general    work    of 

this  kind.      It  may 

be     well     to     say 

that  the  inner  core 

of  the  panels  of  all  of  the   doors  is  of  soft  wood  ;   that  under 

the  broad  surfaces  this   core   is  laminated  and  dowelled,  and 

under   the    smaller    surfaces    it    is    merely   laminated.     Work 

of  this   character  has  to    be   done  with  the    nicest    skill,   and 

by   workmen  of  integrity. 


Fig.    107.  —  Inside   Details. 


1 68  BEAUTIFUL    HOUSES. 

Fig.  107  shows  a  very  acceptable  way  of  bringing  sliding 
doors  together.  With  such  an  arrangement  one  can  use 
the  flat-faced  hardware,  which  is  altogether  more  interesting 
and  satisfactory  than  the  ugly  astragal   fronts. 

Some  of  the  mantels  and  other  details  are  properly- 
designated  and  scattered  through  this  text.  The  general 
character  of  the  finish  is  very  simple.  Nicely  selected 
wood  was  used,  and  beauty  secured  in  this  way  rather 
than  by  obliterating  plain  surfaces  by  mouldings,  carvings, 
and  other  features. 


SOME     HOUSE     PLANS.  —  Continued. 
CHAPTER     XIII. 

A     FIXE     LOCATION. A     RIVER     FRONT. PICTURESQUE    STAIR-HALL. A    SMOKING- 
ROOM      UNDER     THE     BALCONY.  WOOD      CEILING.  DINING— ROOM     FINISH.  

KITCHEN    DETAILS.  DOORS    AND     CASINGS.  ( JREEK     PROFILES.  THE     LOCA- 
TION   PLAN. 


A  CONVENIENT  floor-plan  and  an  artistic  exterior 
can  be  made  for  any  location.  It  is  manifest, 
however,  that  a  given  plan  will  not  suit  every  location. 
The  conditions  influencing  the  planning  of  this  house  (Figs. 
1 08,  109,  1 10,  and 
iii)  were  all  favor- 
able,  although 
somewhat  unusual. 
The  road  show  n 
on  the  location  plan 
(Fig.  112)  is  about 
eighty  feet  above 
the  bed  of  a  river. 
There  is  a  sharp 
bluff  from  the  road 
to  the  river,  and 
to     the      house      a 


Fig.    108.  —  First-Floor    Plan. 


gentle    slope.      The    frontage  of  the    lot    is  about    two    hun- 
dred   feet,    and    the     depth     about    three     hundred.      It    was 

169 


I/O 


BEA  UTIFUL    HO  USES. 


Fig.   109.  —  Second   Story. 


manifestly  important  to  have  the  principal  rooms  of  the 
house  to  the  front.  The  sitting-room,  the  hall,  and  the 
dining-room    of   the    first    story  occupy  that    position.      Back 

of  the  sitting-room 
is  a  library,  and  back 
of  the  dining-room 
the  side  hall,  china- 
room,  and  kitchen. 
The  main  hall  ex- 
tends the  full  depth 
of  the  house,  with 
certain  limitations. 
The  lot  and  the  gen- 
eral situation  suggest 
this  arrangement. 
One  may  enter  this  house  from  the  front  porch,  the  porch 
on  the  west,  or  the  kitchen  porch.  Joining  the  sitting- 
room  and  library  is  a  con- 
servatory with  glazed  open- 
ings. In  the  centre  of  the 
conservator}^  there  is  a 
fountain. 

As  one  enters  the  main 
hall  there  is  a  little  cloak- 
room to  the  right.  This 
can  be  entered  without 
going  into  the  hall  proper. 
It  can  be  measurably  closed  off  from  it  by  drapery. 
Thus  the  annoyance  of  having  to  place  wraps  and  over- 
shoes in  the  hall,  or  of  having  to  cross  the  hall  to  reach 
a     place     therefor,     is     entirely    obviated.       It     is     well-nigh 


Fig.    no.  —  Third-Floor    Plan. 


SOME    HOUSE    PLANS. 


171 


impossible  to  keep  a  floor  in  good  condition  if  one 
must  pass  over  it  with  wet  rubbers.  This  arrangement 
entirely  does  away  with  such  a  necessity,  and  makes  a 
room  of  this  hall.  As  one  steps  in  the  door  one  sees  the 
huge  gallery  which  forms  the  stair-landing  at  the  end  of 
the  hall.  The  stair  goes  up  a  little  over  half-way,  and 
turns  to  a  landing  ten  feet  square,  with  a  semicircular  end 
and  a  half-domed  ceiling  at  the  top.  In  this  semi- 
circular   end    are    five    large   windows   of  carefully   designed 


Fig.    hi.  —  Exterior. 


stained  glass.  Under  the  gallery  there  is  a  smoking-room, 
which  is  reached  by  descending  four  steps  from  the  main 
floor  of  the  hall.  In  one  end  of  this  room,  in  a  little  nook, 
is  a  broad  fireplace.  The  railing  of  the  stairway  continues 
around  the  gallery  on  the  second  floor,  and  thus  adds  to 
the  general  interest  of  the  entire  arrangement.  Off  from  the 
hall,  near  the  smoking-room  door,  is  a  lavatory.  On 
the  left-hand  side  is  a  large  fireplace,  with  an  eight-foot 
breast,  the  design  of  which  is  given  in  Fig-.  wx.  From 
this    hall    there    is    an    interesting    view    of  the    sitting-room 


172 


BE  A  UTIFl  Z    HO  I TSES. 


and     conservatory    on     one     side,     and    of    the    dining-room, 

with  its  mantel  and  sideboard 
(Fig.  114),  on  the  other  side. 
Fig.  115  is  an  end  of  the 
library.  In  the  front  of  the 
hall,  looking  to  the  porch,  is 
a   little   nook   with   seats. 

Another  attractive  outlook 
is  from  the  sitting-room  through 
the  library  to  the  fireplace  with 
its  window  above.  The  dining- 
room  is  of  mahogany,  the  hall 
of  white  oak,  the  sitting-room 
and  library  of  birch  stained  a 
light  red.  The  hall  and  dining- 
room  have  a  wainscoting  five 
feet   high.     The    ceiling    of  the 

hall    is    entirely    of   wood,    with   large   transverse    beams    and 

small   lateral   inter- 


Fig.    112.  —  Location    Plan. 


secting  beams.  The 
rilling  between  is  in 
plain  surfaces.  The 
outline  view  of  the 
stair  (Fig.  116) 
g  i  v  e  s  the  stair 
panelling,  the  bal- 
ustrades, and  a  gen- 
eral view  of  the 
gallery  in  the  din- 
ingf-room.   Onemav 


jjjfjj    ■     M)PHM]iiJi    !Mllllllll|)l|W^,'',ll10|ll||||||l!|H!lliII||||i,l«' '  IlllilllllttUllllir  "'"M  II  IIIU1'  "" HUlF- 


I     '   ,  I 


1    I DB'V _ ^lvAhuuu I 


Fig.    113.  —  Hall  Mantel. 

go  to  the    kitchen    through    the    butler's    pantry,   in    which    is 


SOME    HOUSE    PLANS. 


!73 


placed  a  long  cupboard,  with  glass  doors  in  its  upper 
section,  and  panels  and  drawers  in  its  lower  part.  At  the 
end   of  this   room    under  the  window   is  the   sink   for  washing 


irsrf 


i""**"iV"^  jj 


Fig.    114  — Dimng-Room   Mantel. 


the  china.  The  connecting  doors  between  the  butlers 
pantry  and  the  dining-room  and  the  kitchen  are  on  double 
spring  hinges.  The  kitchen  has  cross  ventilation  ;  that  is, 
there  are  openings  on  each  side.  At  one  end  is  a  tile 
hearth,  on  which  is  placed  the  range  ;  at  the  other  end, 
the  tables  and  sinks.  The  detail  drawing:  shows  the  oren- 
eral  construction  of  this  end  of  the  kitchen.  On  the  wall 
back  of  the  tables  there  is  a  lining  of  slate  (Fig.  117). 
The  tables,  which  are  portable,  are  set  against  the  slate, 
and  extend  over  the  sink.  The  drawing  shows  this. 
Near    this    end    of    the    room    is    the    pantry,    with    its    cup- 


T74 


BE  A  UTIFUL    HO  i  rSES. 


boards,  tables,  drawers,  flour  bin,  and  wall  hooks  for  uten- 
sils. At  one  side  a  refrigerator  is  built  in,  with  a  door  at 
the  baek,  through  which  iee  ma}'  be  plaeed  from  the 
porch.  Baek  of  the  kitchen  is  the  laundry  with  its  tubs. 
In  this  room  is  a  eloset  connecting  with  the  clothes-chute 
in  the  bath-room  above.  From  the  side  hall  one  may  go 
to  the   cellar,  and   to  the   second   and   third   floors. 

The  room  over  the  dininsr-room    and    the    one    over    the 


■ 


?'!  l!       ».  .         . 


'    -    »!>■■..      1 1- 


FiG.    115. —  End   of    Librari 


porch  are  arranged  in  one  suite.  The  closets  of  the 
dressing-room  are  of  the  type  described  on  page  139.  The 
bath  and  water-closet  room  are  independent,  as  has  been 
shown  in  others  of  these  plans.  The  walls  of  both  of 
these  rooms  are  lined  with  marble,  and  the  floors  are 
covered  with  tiling.  .V  linen-closet  is  shown  next  the 
water-closet  entrance,  and  another  store-closet  off  from 
the    bath-room.      The    doorway   from    the    main    hall    to    the 


SOME    HOUSE    PLANS. 


75 


side  stair-hall   renders  the   latter  and    the   bedroom   connect- 
ing with   it  separate    apartments. 

On  the  third   floor  the  space   over  chamber  and  dressing- 


Over    the    bath    and    bed- 


room  is  given  to  two  bedrooms 

room  next  to   it   is 

a  water-tank.    The 

space    o  v  e  r     t  h  e 

two  west  chambers 

is     plastered     a  n  d 

used  for  storage. 


As     to      the 
plumbing,   it    may 
be    well    to    say 
that    the    water- 
closets   are  of    the 
siphon     pattern, 
that    for    the    ser- 
vant being  located 
in    the     basement. 
The     washstands 
a  r  e     fourteen     by 
seventeen      inches 
over   bowls,  with   secret  waste   and    overflow,  the    slabs   sup- 
ported on   nickel   legs.     The    bath-tub   is  roll   rim,  porcelain- 
lined,  with  modern  fixtures.      The  china  sink  is  porcelain  with 
slate     back  ;     the    kitchen     sink     iron,    porcelain    lined;     the 
laundry  tubs    brown    earthenware,  with    brass    trimmings    and 
connections.     All   other  brass-work  throughout   the   house   is 
nickel  plated.     The   house   is   lighted  by   electricity  and  gas. 
Natural  gas   is   used   for  heating  water,  for  the   heating  appa- 
ratus  in  the   basement,   and  grates   in   the   various    rooms. 


Fig.    h6.  —  Stairway. 


176 


BE  A  UTIFl  Z    HO  USES. 


Fig.  118  shows  a  door  and  casing.  A  is  a  section  of 
the  head  of  the  casing.  The  little  incision,  which  is  desig- 
nated by  the  arrow  B,  is  for  the  purpose  of  giving  a  sharp, 
clear,  though  delicate,  line  at  this  point.  The  mouldings 
are  very  tine  and  simple.  This  incision  is  to  be  observed 
elsewhere  in  connection  with  this  casing-head,  and  is 
used     for     the     purpose     of    accentuating      the      fine     lines 

desirable     in     con- 


^LPfreiJsxcK" 


/y-^o-  - 


fy^y-jA      nection  with  these 

c  ■  1  ^r  i 

profiles.       1  he 


ClC^TToN 


tXcT.oN 


-T£a_£. 


3n\ 


&&E=-T*tilX 


mouldings  are  thus 
sufficiently  con- 
spicuous without 
being  coarse  and 
heavv.  These  and 
all  of  the  other 
mouldings  used  are 
of  the  Greek  pat- 
tern rather  than 
the  Roman,  which 
is  more  commonly 
used  with  0 1  d 
Colonial  outlines. 
This  same  thought  obtains  in  the  designing  of  the  mould- 
ings of  stairway,  mantels,  string  courses,  and  other  internal 
and   external   details. 

The   size   and   location   of  the    lot    suggested    the    o-eneral 

floor-plan.       The     floor     plan     and     the    view     from     various 

points    suggested    the     external    outline.      The     details     were 

developed   with   the   idea   of   making   a   near   view   pleasing. 

The     location     plan     indicates     the     disposition      of     the 


Fig.    117. —Kitchen    Sink   and   Tables. 


SOME    HOLS/'.     PLANS. 


i  i 


grounds.  The  space  immediately  in  front  of  the  house 
from  the  porch  walk  to  the  road  is  left  entirely  plain. 
It  is  not  crossed 
by  walks,  or  dis- 
turbed by  flower- 
be  d  s  or  other 
features.  This 
stretch  of  plain 
lawn,  extending 
somewhat  more 
than  the  full  width 


of  the  bu  i  I  diner, 
gives  a  better 
setting  to  the 
structure  than  if 
there  were  any- 
thing immediately 
in  front  to  dis- 
tract the  eye  or  to  divide  the  interest.  There  is  a  drive 
on  the  east  side  of  the  house,  and  a  walk  on  the  west 
side.  The  drive  continues  to  the  stable  in  the  manner 
shown.  The  house  has  a  very  good  setting  of  trees  some 
distance   in  the  rear. 


Fig.    i 


SOME     HOUSE     PLANS.  —  Continued. 


CHAPTER    XIV. 


A    STABLE.  — A    WATER-TOWER.  PUMPS — A    FLOOR    PLAN. INTERIOR    DETAILS. 

DRAINAGE    OF    THE    FLOOR    AND    STALLS.  AN    ODORLESS     MANURE-LIN.  STALL 

CONSTRUCTS  >N.  THE    MAN'S    ROOM. 

THE  stable  shown  on  the  location  plan  in  the  previous 
chapter  contains  some  features  worthy  of  description 
(Figs.  119  and  120).  The  tower,  which  shows  so  conspic- 
uously   in    the    elevations,    contains    a     tank    for    well-water, 

which   is   used   for  various   pur- 
poses in   the   house   and  stable, 
and    for    sprinkling-    the    lawns. 
In    this    instance    the    water    is 
supplied  by  a   pump,  the  power 
for    which    is    the     direct    pres- 
sure    of     natural      gas,      which 
in    this    locality   happens    to   be 
thirty-tive     pounds     per    square 
inch.       Such      power     is     only 
available    in   restricted    sections. 
In   other    sections    water    motors,    gas.    naphtha,    gasoline    or 
hot-air    engines,     electricity     or     windmills,    may     be     used. 
Sufficient  to   say.  a   water    plant  of  this  kind    is  everywhere 

available.       There   is   only  required   some   engineering  ability 

178 


LIU   LI    •-_ 


Fig.  119.  —  Barn,    froai    Rear. 


SOME    HOUSE    PLAXS. 


179 


in  planning  it  The  operation  of  any  such  apparatus  is 
exceedingly  simple,  needing  only  a  little  faithfulness  in 
oiling    and   the  courage  to  refrain   from   tinkering  with   it. 

The  plan    (Figs.    121   and    122)    shows  the   carriage-room, 
sufficient    in    size    for    the    storage    of    four    vehicles,    and    a 
stall-room,  containing  two  box  stalls   and   one   ordinary  stall. 
Connected    with    both     the     stall    and    carriage    rooms    is    a 
large  harness-room.      Out  of  this  room   is  a  stairway  to   the 
second  floor.     This    upper    part    is    used    for    a    man's    room 
and    storage.       In    another    structure    built    from    about    this 
plan    the    large    room    was    used 
as    a    gymnasium    and    playroom 
for    boys.       One    of    the     closets 
could     be     arranged     as     a     dark 
room    for    amateur    photography. 
The     space    oyer    the    stall-room 
is    used    exclusively  for  hay  and 
feed   storage.       The    dormers    on 
the     east     side     of     the     hayloft 
afford    passages    from     which    to 
throw     hay    into     the     stall-racks 
below.       There     are     little     doors     hinged     into     the     floor, 
which    may    be    lifted,    and,    as     the     dormers    are     sheathed 
down    to     the     floor     as      far     back    as     the     hinge     of     the 
door,  the   opening  of  this   door  forms    a    continuation    of   the 
hay-chute   up   into  the   loft.     The  door  may  be  hooked  open 
to   the   side   of  the   dormer,  and   held   in  that    position   at  the 
will   of  the   attendant.      There  are   large    doors    at    the    north 
and  south   ends  of  the   loft.     The  rooms    over    the    carriage- 
house    are    plastered    with    hard    plaster.      The    walls    which 
separate    the    hay-mow    from    these    rooms    are    sheathed    on 


Fig;   120  —  Barn,    from   Front. 


1 80 


BE  A I TTIFUL    HO  USES. 


the  hall  side  with  dovetailed  sheathing,  which  forms  a 
surface  which  can  be  plastered  on  one  side,  and  a  beaded 
flooring-surface  on  the  other.  This  is  not  the  ordinary 
dovetailed  or  Byrkit  lath,  as  it  is  called,  but  is  a  high 
grade  of  dressed  yellow-pine  flooring,  which  has  the  lath 
cuts   made   on   the   side   to   be   plastered. 

All   of   the   framing-stuff,   sheathing,  and  exposed    lumber 
on  the  interior  of  the  structure   is  of   Southern    yellow-pine. 

In  the  section  where  this  stable  was 
built  the  cost  of  this  material 
is  about  the  same  as  the  North- 
ern pine.  It  has  the  advantage  of 
being  free  from  knots  and  other 
blemishes.  The  exterior  wood- 
work is  poplar,  excepting  where 
shingles  are  used,  and  they  are 
pine  or  eypress. 
The  stall-room,  as  stated,  contains  two  box  stalls  and 
one  ordinary  stall.  The  box  stalls  are  twelve  feet  square. 
In  ease  of  emergency  one  or  both  of  these  stalls  could  be 
provided  with  temporary  or  permanent  partitions,  and  the 
capacity  thus  be  increased  from  three  to  live  horses. 
Even  then  the  stalls  would  be  larger  than  those  in 
common  use.  The  water-closet  in  the  room  off  from  the 
stall-room  is  of  the  type  known  as  out-door  closet  ;  that  is, 
the  valve  and  trap  are  well  underneath  the  ground,  so  that 
they  will  not  freeze  in  winter.  This  closet  connects  with  a 
sewer  for  drainage,  and  with  the  tank  service  for  supply. 
The  feed-mixing  box  and  watering-trough  are  at  the  side 
of  the  passage,  between  the  stall-room  and  the  carriage- 
room.     Connecting    with    the    outside    of   the    stable    on  the 


Fig.    121.  — Barn,    First   Story. 


SOME    HOUSE    PLANS. 


ISI 


north  is  a  sawdust  bin.  While  straw  probably  makes 
a  better  bedding-material,  sawdust  is  largely  used  in  many 
sections.  This  bin  is  hoppered  in  the  direction  of  the 
inside   opening. 

The  arrangement  of  the  manure-bin  is  worthy  of  special 
attention.  It  is  the  lack  of  care  of  this  material  which  so 
often  renders  a  stable  an  obnoxious  place.  This  manure- 
bin  is  constructed  with  vitreous  salt  glazed  brick  laid  in 
Portland  cement.  The  floor  thereof  is  of  Portland-cement 
concrete  to  the  depth  of  four  inches,  and  slants  to  the  out- 
side. The  bin  is  arched  over  at  the  top  with  the  material 
previously  specified.  On  the  inside  of  the  stable  there  is  a 
close-fitting  cast-iron  door  set 
four  feet  from  the  floor.  On 
the  outside  there  is  a  wrought- 
iron  door  four  feet  high.  This 
door  is  the  full  width  of  the 
bin.  At  the  top  it  is  perfor- 
ated with  a  number  of  small 
openings.  This  permits  the 
passage     of     air    into     the     bin, 

and  thence  to  a  special  vent-flue  which  connects  with  it. 
The  movement  of  the  air  in  this  rlue  is  accelerated  in 
cold  weather  bv  the  heat  of  the  grate  which  heats  the 
carriage-room,  and  bv  a  special  natural-gas  burner  in 
the  vent-rlue  itself  during  other  times.  Thus  it  is  im- 
possible that  there  should  be  any  odor  from  the  storage 
of  manure.  In  foreign  cities  one  finds  stables  opening 
into  the  court-yards  of  splendid  establishments,  and  with 
ordinary  care,  even  without  the  precautions  which  are 
made     possible    in    this    instance,    there     is    never    any   odor. 


Fig.    122.  —  Barn,    Second   Story. 


1 82  BEAUTIFUL     HOUSES. 

A  very  large  proportion  of  the  houses  in  the  Faubourg 
Saint  Germain,  in  Paris,  are  provided  with  driveways  into 
the  courts,  which  are  relatively  small  in  size,  yet  from 
which  the  doors  open  into  the  stall  and  carriage  rooms. 
There  is  no  odor  to  remind  one  of  their  presence.  Cer- 
tainly there  need  be  none  in  a  stable  of  the  character 
we    are    considering. 

The  stalls  on  the  wall  side  are  lined  to  the  height  of 
six  feet  and  a  half  with  wainscoting.  The  other  walls  and 
partitions  are  formed  with  two  thicknesses  of  seven-eighths- 
inch  flooring  nailed  together  into  reverse  diagonals  and 
capped  on  the  top  with  special  cast-iron  covering.  These 
walls  and  partitions  are  four  feet  high.  On  these  are  placed 
wire  screens  two  feet  and  a  half  high.  The  windows 
which  light  and  ventilate  the  stalls  are  above  the  wain- 
scoting and  hinged  at  the  top.  They  are  opened  by  cords, 
which  pass  over  pulleys  to  the  west  side  of  the  stall-room. 
The  cord  is  fastened  to  catches  at  the  bottom  of  the  sash, 
so  that  the  fastening  is  released  by  pulling,  and  the  sash 
opened. 

The  stall  floors  are  formed  by  first  laving  a  four-inch 
bed  of  concrete.  On  this  is  spread  a  light  flow  of  pitch, 
and  over  this  two  coats  of  roofing-felt  stuck  with  pitch. 
In  the  concrete  are  bedded  four-inch  by  four-inch  sills.  On 
these  is  laid  secret-nailed,  two-inch  tongued  and  grooved 
pine  flooring.  This  floor  has  a  slant  from  a  corner  to  the 
catch-basin  shown  on  the  outside  of  the  stall.  This 
slant,  of  course,  is  very  slight.  There  is  some  difference 
of  opinion  as  regards  the  best  kind  of  a  stall  floor.  The 
advantage  of  this  one  is  that  it  is  water-tight,  has  good 
drainage,   and    is    capable,    if    well     bedded,    of    being    kept 


SOME    HOUSE    PLANS.  183 

absolutely  clean  and  pure.  Clay  floors,  which  are  favored 
by  many,  are  absorbent,  and  cannot  be  maintained  in  a 
condition  to  afford  good  drainage.  The  floors  of  the  entire 
stable  outside  of  the  stalls  are  of  vitrified  paving-brick. 
There  is  first  laid  a  bed  of  sand,  followed  by  a  smooth  bed 
of  Portland-cement  concrete,  in  which  vitrified  paving-brick 
are  laid  on  edge  and  slushed  with  liquid  cement.  The 
floors  in  both  the  stall  and  carriage  rooms  slant  to  catch- 
basins,  which  are  connected  with  the  sewer.  Thus  a 
hose  can  be  turned  on  the  floor  in  either  room,  and  it  will 
thoroughly  drain  itself.  The  slant  of  the  floor  need  not  be 
enough  to  be  noticeable  in  walking  over  it.  There  are 
hot  and  cold  water  connections  in  the  carriaae-room.  The 
hot  water  is  provided  by  a  forty-five-gallon  plumber's 
boiler,  which  is  connected  with  a  coil  heater,  either  in  the 
grate  or  above  a  natural-gas  burner. 

The  man's  room  on  the  second  floor  is  heated  by  a 
register  connection  with  the  hot-air  flue,  which  joins 
a  wrought-iron  brick  heater  in  the  carriage-room.  By 
this  arrangement  fresh  air  is  drawn  in  from  the  outside  of 
the  building  on  the  west  side,  through  a  six-inch  vitri- 
fied pipe  back  of  the  wrought-iron  lining  of  the  grate. 
In  its  passage  into  the  hot-air  chambers  it  is  heated  bv 
the  grate-lining  and  the  smoke-flue,  which  are  independent 
and  set  inside  of  the  hot-air  flue.  Thus  the  waste  heat 
of  the  arate  is  used  in  heating  outside  air  which  comes 
through  the  vitrified  pipes,  the  flue,  and  into  the  man's 
room  above. 


SOME    HOUSE    PLANS.  —  Continued. 
CHAPTER    XV. 

THE     HOUSEKEEPER     AND    THE    FLOOR     PLAN. THE     SUPER-MINDED     CLIENT. THE 

ONE    WITH    PICTURESQUE   TASTES.  —  SOUTH    GERMAN    ARCHITECTURE. 

IN  building  a  house  the  floor  plan  should  receive  first 
consideration.  Every  housekeeper  has  certain  ideas  of 
arrangement ;  and  while  it  is  true  that  the  housekeeper 
may  know  very  little  about  the  principles  of  house- 
planning,  the  arrangement  of  rooms,  halls,  stairs,  closets, 
etc.,  she  is  nearly  always  able  so  to  express  herself  that 
she  practically  controls  the  general  arrangement  of  the 
plan.  Many  details  may  have  to  be  changed  ;  yet,  as  in 
the  house  shown  in  Figs.  124  and  125,  certain  general  require- 
ments affect  the  entire  arrangement.  A  large  hall  and  parlor 
were  demanded  for  the  front  on  the  first  floor;  back  of 
the  parlor,  the  library;  in  the  rear  of  the  hall,  the  dining- 
room.  A  rear  hall  connecting  with  both  library  and 
dining-room  was  desired.  The  demand  for  the  second 
floor  was  that  there  should  be  live  bedrooms,  and  that 
the  family  room  over  the  parlor  should  connect  with  the 
hall  bedroom  and  the  one  over  the  library.  The  guest- 
room was  over  the  dining-room,  and  the  servant's  room 
over  the  kitchen.  The  rear  stairwav  continued  to  the 
attic.     The  bath-room  and  water-closet  room  were  separate; 

the  laundry  was  provided  in  the  basement.     The  arrangement 

1S4 


SOME    HOUSE    PLANS. 


185 


of"  all  details,  such  as  the  closets,  kitchen,  pantries,  and 
other  matters  of  like  character,  was  left  entirely  to  the 
architect. 

Clients    usually    do    not   say    a    great    deal    to    an    archi- 
tect   in    whom    they    have 
confidence,  in  regard  to  the 
exterior.       He    knows  the 
limit   of  expenditure, 
the    general    taste    of    the 
owner,   and   governs    him- 
s  e  1  f     accordingly.       One 
client     may     demand     a 
very     quiet,     simple      ex- 
terior.     That  is,  the  archi- 
tect may   feel   that  such  a 
design     would     be     best 
suited    to    his    taste.     Yet 
another     client      may     be 
more    picturesque    in     his 
tastes,    rather     more    bril- 
liant    in     character,     and 
the    architect  who    under- 
stands his  client  will  make 
a     design     suited     to      his 
character.      T  here     a  r  e 
others   who    wish    what   is 
ponderous      or      dignified, 
others     what     is     chic     or 
quaint.      Thus  there   is  de- 
veloped  a   perfectly  natural   and    proper    demand    for   variety 
in    external    treatment.       If    all    of    these    clients    be    people 


Fig.    123 


1 86 


BE  A  UTIFUL     HO  USES. 


I  ¥< 


nr 


\rr^\ 


Chwvw.o^ 


of  correct  taste  and   refined  manners,  their  varying  demands 
would  be  properly   considered  by  a   skilful    architect. 

In  connection  with  a  simple  plan  of  the  kind  here 
given,  it  is  interesting-  to  show  at  least  two  methods  of 
treating  the  exterior.  The  rlrst  one  (Fig.  126)  is  very 
simple  and  quiet,  yet  having  every  bit  of  decoration 
careful  1)',      thoroughly,       and      seriously      developed.       Each 

moulding  o  n 
the  exterior 
has  been  a 
subject  of  care- 
ful thought, 
each  bit  of 
decoration 
worked  out  in 
a  way  to  har- 
monize with 
the  relatively 
severe  treat- 
ment of  the 
other  details. 
The  elevation 
of  this  struct- 
ure shows  the  spirit  in  which  this  work  was  carried  out. 
Such  a  design  might  exactly  suit  the  demands  of  one 
client. 

Take  another  instance.  The  architect  notices  that 
his  client  is  rather  picturesque  in  his  tastes;  that  a 
coarse,  extravagant  design  might  please,  if  presented  to 
him;  that  such  a  design  would  be  selected  rather  than 
one     simpler     and     more     refined,    not     because    of    inherent 


n 


Fig.    124.  —  First    Story. 


Fig.    125.  —  Second    Story. 


SOME    HOUSE    PLANS. 


l87 


"crrn 


Fig.    126.  —  Front    Elevation. 


coarseness,     but     because     few     people     are     well     enough 
acquainted    with    the    details    of    design    to    make     fine     dis- 
tinctions.      While    they    wish    a    picturesque    structure,    they 
will    be    more     than     pleased     it' 
its    picturesqueness    can    be   ob- 
tained    in     a     refined,    studious    c 
manner.       These     people     will 
appreciate    carefully    considered 
detail     quite    as     much     as    the 
other     client.       In     all     proba- 
bility   they    would    not    be    able 
to     judge     as     to     the     exact 
character    of    the    details     until 
they    were    executed. 

If     the     public    demand     for 
rather     brilliant    structures,    which    has    been    undeniable    in 

recent  years,  had  been  met  by 
architects  who  could  design 
all  of  the  details  in  a  re- 
fined spirit,  we  should  have 
wonderfully  picturesque  cities 
rather  than  a  large  number 
of  coarse  and  common  ones. 
The  house  of  the  client  who 
wishes  a  large  number  of 
gables,  a  tower,  dormers,  bal- 
conies, etc.,  is  nearly  always  a 
violently  ugly  one.  This  is 
true  because  the  details  of 
the  structure  are  bad.  Such  a  design  is  no  more  com- 
plicated   than    many   which    we    see    in    the    pictures    of  the 


Fig.   127.  —  Front    Elevation. 


i88 


BEAUTIFUL    HOUSES. 


Breton,     English,     and    German     architecture.       In    each    of 

the  countries  named 

X,r\  we     find     beautiful 

,03         A         fl%   X~//\  .   . 

picturesque    streets. 

The  work  is  done 
by  artists.  With 
us  it  is  quite  dif- 
ferent. A  s  has 
been  said  before, 
the  client  wishes 
the  picturesque. 
The  architect  is 
able  to  give  him 
only  what  is  con- 
fused    in     outline 


Fig.    128  —Front    Elevation. 


and    coarse    and    common    in    detail. 

In     the    exteriors    which     are     given    of    this    house,    the 
first     has     mouldings    taken    from    the 
I     r*   TT   t  i      1       Roman  architecture.      These   are  par- 
ticularly   well- 
fitted     fo  r    exe- 
cution   in    wood. 
This      harmonizes 
with     the    other 
d e s i g n  ,    and    is 
capable    of  being     1  vi 
carried    out    at   a 
moderate    cost. 

The  more  pic- 
turesque design 
(Fig.   127)    is   in- 


Fig.   i2Q.  —  First    Stoi<y. 


Fig.    130.  —  Second    Story 


SOME    HOUSE    PLAXS. 


189 


spired     by     the     South     German      half-timber      architecture. 
Nothing    could    be    more    picturesque,   and    yet    it    is    highly 
refined     in    every    de- 
tail.     The    filling     in 


between    the     timbers 
is    of  concrete.       The 
drawings      tell     their      p 
own    story. 

The  elevation  (Fig. 
128)  and  two  floor- 
plans  (Figs.  129  and 
130)  are  of  a  house  not  greatly  different  from  these.  An 
especial  description  is  not  necessary.  The  stairway  of 
the    house   is    shown    in   Figs.    131    and    132. 


Fig.    131.  —  Stairway. 


LAN. 
Fig.    132.  —  Plan    of    Stairway. 


SOME    HOUSE    PLANS.  —  Continued. 
CHAPTER   XVI. 

IN    A    FOREST. SENTIMENT    WHICH     CONTROLS    THE    EXTERIOR. A     WIDE    HALL.  

THE    MUSIC- ROOM. THE     END    OF     THE     DINING-ROOM.  THE    SIDEBOARD. 

FLUSH-PANEL       DOORS.  A       SCREEN.  NATURAL-\VO<  >I »        FINISH       FOR       THE 

EXTERIOR.  ROMAN     BRICK.  BYZANTINE     DEI  AIL. 


THIS  house  (Figs.  133  and  134)  is  situated  in  a  large 
grove  of  forest  trees,  near  the  bank  of  a  winding 
river.  The  purpose  in  its  planning  was  to  get  the 
principal  rooms  to  the  front  ;  therefore  it  is  a  broad  and 
relatively     shallow     structure.      The    first     idea     as     to     the 

exterior  was  that  it 
should  be  perfectly 
simple  and  natural 
in  general  outline. 
Therefore,  one  finds 
no  gables,  towers, 
or  other  detail  to 
bring  one  part  into 
greater  prominence 
than    another. 


Fig.    133. —  Front    Elevation. 


There  was  the  feeling  that  in  this  great  grove  a  structure 

simple     in     outline     and     fine     and     carefully     considered     in 

detail,    would     be     reposeful      in     its     association     with     the 

picturesque    surroundings. 

190 


SOME    HOL'SR    PLANS. 


191 


The  sentiment  which  controls  the  exterior  dominates 
the  interior  arrangement  (Figs.  13^  and  136).  In  a 
perfectly  natural  way  there  are  developed  a  number  of 
cosey  corners  and  special  features  which  have  been  disas- 
sociated for  the  most 
part  with  our  house- 
building during  the 
recent  past.  Large 
plate-glass  show  win- 
dows staring  at  the 
street  do  not  bring 
the  cosiness  and  the  . 
homely  comfort 
which    b e  1  o n  a-    to 


Fig.    134.  —  Side    Elevation. 


quiet  home-building.  This  plan  is  formed  upon  broad 
lines.  The  wide  hall  and  the  long  rooms  on  either  side 
form  the  living  part  of  the  house  on  the  first  floor.  But 
these  rooms  are  large,  and  so  divided  as  to  obliterate  the 
idea  of  mere  roominess.  The  separation  of  the  little 
cloak-room  from  the  hall  is  more  complete  than  in 
any  of  the  houses  which  have  been  shown.  Beyond 
the  vestibule  is  an  ample  window-seat  (Fig.  137),  which 
is  separated  in  a  decorative  way  from  the  hall,  at  the 
same  time  that  the  entrance  to  it  is  direct,  and  the  view 
through  its  windows  to  the  front  unobstructed.  There 
is,  moreover,  a  pronounced  decorative  separation  between 
this  recess  and  the  large  hall.  The  view  from  the  hall 
itself  is  not  intended  to  be  startling.  There  are  quiet 
details  and  features  of  interest  in  the  librarv,  dining-room, 
and  music-room  beyond  the  hall,  and  in  the  stairway. 
The    purpose    of  the    designer   was   to    keep   everything   quiet 


192 


BRA  i  TIFUL    uoi  ~si-;s. 


and  simple.  While  there  is  a  wainscoting  five  feet  in 
height  encircling  hall,  music-room,  and  dining-room,  the 
surfaces  are  perfectly  plain.  There  are  no  panels  in  either 
the  wainscoting  or  doors.  The  broad  surfaces  of  wood- 
work are  covered  with  selected  veneer  of  quartered  oak, 
and    are    finished    with    a    dull    surface. 

The  music-room  in  the 
rear  is  three  steps  higher 
than  the  hall.  In  it  there 
is  a  little  alcove  in  which 
can  be  placed  an  upright 
piano.  This  alcove  is  not 
enclosed  on  the  side  toward 
the  hall,  but  is  merely 
screened  off  from  it  by  dec- 
orative woodwork.  This  is 
quite  open,  and  would  not 
interrupt  either  \-  i  e  w  or 
At  the  back  of  the 
a     window,    which     is 


Fig     135. —  First    Story. 


sound 
music-room  is  a  broad  seat  under 
quite  high  above  the  floor  (Fig. 
138).  It  is  to  be  noticed  that 
there  is  a  slight  separation  be- 
tween this  little  music-room  and 
the  main  hall,  in  the  form  of 
a  screen  (Fig.  139).  As  one 
stands  near  the  front  entrance  to 
the  main  hall  one  sees  the  large 
fireplace  built  of  light-colored 
tiles,    the     elevated    music-room. 


Fig. 


[36. —  Second    Story. 

the    screens    which    separate    it   from    the    hall,   the    window- 


SOME    HO  LSI-.     PLANS. 


1 93 


seat  in  the  rear,  and  the  light  coming  from  a  broad 
window  on  the  main  stair-landing  above.  The  source 
of  this  light  is  not  seen  from  this  point,  but  one  feels 
the  light,  warm  tints  from  the  broad  window  above.  The 
decoration  of  the  room  and  the  treatment  of  the  wood- 
work     are      rich      and      rather      sombre,     and     in      walking 


Fig.    137—  Looking    into    Alcove    froa\    Hall. 


towards  the  stair-hall  there  is  the  impression  of  the  bright- 
ness that  is  beyond.  There  is  a  buoyancy  in  an  effect 
of  this  character  which  cannot  be  explained.  One  cannot 
analvze    it,    but    one    must    feel    it    when    in    the    room. 

The  end  of  the  dining-room  (Fig.  140)  which  is  seen 
from  the  hall  is  divided  by  a  beam  extending  from 
wall  to  wall,  and  supported  on  either  side  by  a  pilas- 
ter    and     column.        The      mantel     is     very     broad  —  seven 


i94 


B  EA  UTIFUL    HO  USES. 


feet.  The  treatment  of  the  tile  around  the  hob-grate  is 
perfectly  simple.  The  colors  are  gray.  Above  is  a  plain 
mantel-shelf,  and  yet  above  this  a  space  for  a  picture. 
The  space  between  the  pilaster  and  '  the  wall  provides 
room  for  a  window-seat,  above  which  is  a  leaded-glass 
window.  The  space  from  the  under  side  of  the  beam  to 
the  floor  is  only  eight  feet.  Hence  there  is  a  distinct  sepa- 
ration between  this  grate-hearth  and  window-seat  space 
and  the  dining-room  itself.  This  makes  one  of  the  cosey 
corners  of  this  house.  While  it  might  seem  that  the 
cutting  off  of  this  end  of  the  dining-room  would  reduce 
its    seating     capacity,    it     is     not     so,     for    the     reason     that 

the    woodwork 


does  not  project 
beyond  the  tile- 
hearth,  which  is, 
in  reality,  the  limit 
of  the  available 
space  in  a  dining- 
room. 

The  west  win- 
dow of  the  dining- 
room  is  placed 
high  from  the  floor. 
Thus,  while  it  is 
wide  it  is  not  long, 
and  being  in  three 
divisions  does  not  cause  a  glare.  The  glass  of  this 
window  is  uncolored,  and  set  in  small  geometrical  pat- 
terns leaded.  The  sideboard  is  opposite  the  centre  of 
this     window.       This     sideboard,     like      the      others     which 


Window-Seat    in    Music-Room. 


SOME    HOUSE    PLANS. 


r95 


have  been  described,  is  architecturally  simple,  and  depends 
upon  the  articles  of  china,  glass,  and  silver  for  the  dec- 
orative   effect.       A    sideboard   which    is     made     up     of    pre- 


Fig.    139. —  Screen    between    Hall    and    Music-Room. 


tentious  woodwork,  with  elaborate  details,  is  out  of  place. 
The  architecture  of  a  sideboard  cannot  be  expected  to 
compete  in  a  decorative  way  with  the  articles  which  it 
holds,  and  for  that  reason  may  well  be  kept  quiet.  The 
material  may  be  never  so  rich,  —  oak,  mahoganv,  birch, 
or  other  hard  wood,  —  but  it  is  an  utterly  misplaced  effort 
to    make    it    obtrusive    through    its    own    detail. 

The  library  contains  features  of  interest  such  as 
belong  to  such  a  room.  At  right  angles  to  two  of  the 
bookcases  are  stationary  seats,  which  are  illustrated 
in  the  sketches  in  another  part  of  this  book.  The  apt- 
ness   of  this    arrangement    is  at  once  apparent.     There    is    a 


196 


BE  A  i  "1 7FC  X    BO  USES. 


window-scat     projecting    from      this      room     on     the     north. 
Through    the    north    door    the    stairway    is    visible. 

The  doors  (Fig.  141  )  have  all  of  their  panels  flush 
with  the  rail,  though  the  panels  themselves  are  outlined 
by  a  rather  delicate  moulding.  Their  surfaces  are  of 
selected  veneer,   glued   to   a   laminated    core   of  poplar   wood. 


Fig.    140.  —  End    of    Dining-Room. 
(Painting  built  in  over  mantel.) 


The  details  on  page  197  show  their  construction  and  the  pre- 
cautions taken  against  warping.  There  are  so  many 
features  connected  with  the  interior  of  this  structure  that 
plain    woodwork    is    necessary    to    prevent    confusion. 

The  connection  between  the  kitchen  and  the  dining- 
room  through  the  butler's  pantry,  and  the  fittings  of  the 
kitchen     itself,    are     practically    the     same     as     those     which 


SOME    HOUSE    PLANS. 


197 


have   been    described  elsewhere.     The    laundry  and   servants' 
water-closet    are    in    the    basement. 

On  the  second  floor  the  bedrooms,  halls,  closets,  and 
various  fittings  are  properly  indicated  by  the  drawings. 
Two  mantels  on  this  floor  are  shown  in  Figs.  142,  143. 
The  bath-room  is  separate  from  the  water-closet  room, 
and  the  general  principles  of  the  planning  of  the  second 
floor  are  not  essentially  different  from  those  which  have 
been     considered 


elsewhere.  The 
floor  of  the  bath- 
room and  water- 
closet  is  of  tile, 
and  the  walls  to 
the  height  of  six 
feet  are  of  marble. 
The  exterior 
treatment  is  as 
simple  as  possible 
in  its  outline, 
though  the  de- 
tails —  that  is,  the 
cornice,  m  o  u  1  d  - 
ings,  and  window- 
caps,  the  porch  columns,  the  dormers,  string  courses, 
projections,  brackets,  dentals,  etc.  —  are  all  developed  with 
the  greatest  care.  It  is  necessary  in  a  simple  structure 
ot  this  character  to  give  much  thought  to  all  the 
details  in  order  to  prevent  an  appearance  of  com- 
monness. This  same  building  with  crude  mouldings 
and    unstudied     forms    would     be    anything     but     interesting. 


Fig.    i4i.  -Door    and    Casing. 


i98 


BE.  I L  7 IFL  Z    HO  USES. 


Fig. 


Mantel. 


It  would  be  merely  eommon.  But  with  all  these  things 
carefully  considered  and  executed  the  very  simplicity  of 
outline    adds    to    its    refinement    and    interest. 

The    foundation    of    this     structure,    which    shows     above 
the    ground,    and     the     exposed     chimneys     are     all     laid     in 

Roman  brick,  which  are  about  one  and 
one-half  inches  thick  and  ten  inches 
long.  Their  color  is  tan,  mottled  in 
blue.  At  a  distance  the  effect  is  gray. 
The  exterior  of  this  structure  is  finished 
in  natural  wood  ;  that  is,  the  white 
pine  was  filled  with  shellac  and  then 
varnished.  No  paint  is  used  on  any 
part  of  the  exterior.  The  writer  thinks 
that  this  kind  of  finish  must  in  time  largely  take  the 
place  of  exterior  painting.  It  is  not  expected  that  a 
waterproof  varnish  will  retain  its  finish,  nor  is  it  in- 
tended that  it  should  do  so.  The  exposed  parts  of  the 
wood  will  turn  gray.  Those  under 
cover,  such  as  the  cornice  and  the 
parts  under  the  porches,  will  turn  to 
yellows  and  light  reds,  and  blend  with 
the  grays  in  a  very  natural  and  inter- 
esting manner.  In  a  structure  situated 
as  is  this  one,  this  coloring  cannot  but 
be  attractive.  The  only  houses  which 
one  sees  in  Europe  which  are  inter- 
esting because  of  their  paint  are  the 
Hildesheim  structures.  As  we  have  said,  the  Swiss  cot- 
tages are  greatly  enhanced  in  beauty  through  the  weather- 
ing of  the   fine   wood   out  of  which   they   are    made. 


Fig.    i4?.  —  Mantel. 


SOME    HOUSE    PLANS. 


T99 


On  the  exterior,  under  two  of  the  windows,  are 
flower-boxes.  These  boxes  are  of  wood,  lined  with  lead, 
and  are  provided  with  a  drain  which  carries  the  drip- 
water  to  the  ground.  The  boxes  themselves  rest  on  iron 
brackets.  When  made  and  supported  in  this  way  there 
is  no  chance  of  decay  in  any  part.  A  few  delicate  vines 
trailing  from  these  boxes,  and  the  bright  color  of  geraniums, 
are  quite  in  character  with  the  general  conception  of 
this    building:. 


Fig. 


SOME    HOUSE    PLANS.  —  Continued. 
CHAPTER   XVII. 

A     LARGE      NUMBER      OF      ROOMS. BRICK      AND      STONE. RENAISSANCE      FORMS. 

PICTURESQUE     ROOF.  THE     GABLES. 


THE     plan    (Fig.    145)     given     in     this     connection     is     a 
departure    from    the    modern    idea    of   consolidation    in 
house-planning.       There    is    a    large    central-hall,   a    separate 

stair-hall,  with  parlor,  dining- 
room,  and  kitchen  on  one 
side  of  it,  and  sitting-room, 
library,  office,  toilet  and  closet 
rooms  on  the  other  side.  No 
one  will  question  the  general 
benefit  of  simplifying  a  floor 
plan.  We  quite  frequently  see 
splendid  houses  which  have 
only  a  large  hall,  a  dining- 
room,  library,  and  kitchen  on 
the  main  floor.  In  this  case 
the  hall  has  its  nook  into 
which  the  formal  caller  may 
be  ushered,  and  the  hall  itself, 
the  library,  or  even  the  dining- 
room,  may  do  service  as  a 
This  has   a  ten- 


Fig.    145.  —  First    Story. 


sitting-room. 


SOME    HOUSE    PLANS. 


20I 


dency    to     reduce     complication     in     house-keeping.       Much 
time    is    wasted     through     badly   arranged     floor    plans,     and 
a      great     deal     of     energy     lost     through      the     inexorable 
demands  of  over-housekeeping.      If  one  were  not  acquainted 
with     the     conditions     which     dictated     this     floor     plan,    he 
might    well    class    it     among 
those    which    are    too    com- 
plicated.      It     may    be     well 
to      state      that     the      house 
was     never     built,    though    it 
was       seriously      considered. 
It    was  planned    for    a    large 
lot,    some    two   hundred   feet 
front     and      three      hundred 
feet   deep;     the    ground    was 
covered      with       magnificent 
trees,  in  the   midst  of  which 
was    the    place    designed    for  the    house.     The    second    floor, 
which    is    not    given,  contains    six    bedrooms,    two    dressing-- 
rooms,  bath-room,  and  water-closet:    the  attic   floor,  a    laro-e 
room     in     front     and     two    bedrooms     and     a     bath-room     in 
the    rear. 

This  house  was  to  have  been  of  brick  (Figs.  146  and 
147).  Its  great  size  presented  certain  difficulties  in  the 
composition  of  the  exterior.  If  the  north  side  had  been 
continued  through  in  a  straight  line  in  so  far  as  it  relates 
to  the  sitting-room,  stair-hall,  and  dining-room,  it  would  have 
been  heavy,  not  alone  because  of  the  monotony  of  the 
wall  surface,  but  on  account  of  the  depression  of  the  roof 
above.  As  a  relief  from  this,  the  stair-hall  is  recessed  a 
little  so  that  two  gables  are  justified  on  this  side  of  the  house. 


Fig.    146.  —  Front    Elevation. 


202 


BKA  i  "/'//■(  Z    HOUSES. 


As  shown  by  the  elevation,  this,  together  with  the  treatment 
of  the  large  window  over  the  stairway,  relieves  this  side  of 
the  house  from  all  danger  of  heaviness,  which  would  result 
from  its  natural  form  and  great  size.  The  arrangement  of 
the  gables  at  the  side'  improved  the  outlines  of  the  front. 
The  same  difficulty  of  largeness  was  to  be  feared  in  the 
front;  thus  it  had  to  be  so  developed  as  to  enliven  the 
structure  without  making  it  frivolous.  In  the  front  the 
surfaces  are  flatter  than  on  the  sides,  and  the  mass  more 
bulky.      As    a    relief   from    this    there    was    chosen     a    detail 


Fir.     147.  —  Side    Elevation. 


somewhat  decorative,  at  the  same  time  that  it  preserved 
dignified  outlines.  Without  adhering  distinctly  to  any  model, 
the  general  style  of  this  structure  is  early  Renaissance, 
and  of  a  period  which  admits  of  some  considerable 
decorative  detail.  Thus  we  have  a  sedate  outline  and  the 
enlivening   influence   of  rather   brilliant   decoration. 

Where  the  details  are  sufficiently  refined  in  character, 
the  danger  of  over-richness  is  nearly  reduced  to  the  mini- 
mum.      The    roof-lines    of   this    building,    as    shown    by    the 


SOME    HOUSE    PLANS.  203 

drawings,  end  in  a  graceful  curve  at  the  bottom.  'This 
prevents  a  harshness  which  would  result  from  running  the 
roof-line  straight  down  to  the  point  of  the  cornice.  The 
use  of  a  large  number  of  rather  brilliant  dormers  in  the 
roof  prevents  this  part  of  the  structure  from  being  heavy. 
If  one  studies  the  detail  of  the  wood-carving  on  the  arables, 
he  will  see  that  it  would  take  the  hand  of  an  artist  to  exe- 
cute them.  It  was  intended  to  have  this  woodwork  carved 
by  an  artist,  and  placed  in  position  along  with  the  other 
work  as  the  house  went  up.  This  is  also  true  of  the 
decorative  woodwork  of  the  porches  and  window-frames. 
In  order  to  carry  the  color  of  the  body  of  the 
structure  into  the  roof  on  the  north  side,  the  front 
dormer-walls  are  designed  in  brick,  and  are  a  continuation 
of  the  lower  brick  walls  without  the  interruption  of  an 
east    and   west   cornice-line    at   this   point. 

The  base  course  from  the  top  of  the  water-table  is 
of  irregular  coursed  masonry;  otherwise  the  lower  part  of 
the  structure  contains  a  relatively  small  amount  of  stone, 
but  as  the  building  approaches  the  top  it  becomes  richer 
in  this  material.  This  may  be  seen  most  readily  in  the 
front  view,  though  it  may  be  noticed  on  the  side  as  well. 
This  enlivens  what  would  otherwise  be  a  rather  cumber- 
some and  heavy  structure.  The  character  of  the  detail 
removes    the    impression    of  over-richness. 

It  is  impossible  to  adapt  the  earlier  styles  to  the 
requirements  of  an  American  home.  There  is  no  reason 
why  it  should  be  attempted.  They  were  all  developed 
through  the  practical  working  out  of  the  problems  of  the 
people  of  their  time,  and  as  our  habits  and  requirements 
are    quite    different   from   those    of   past    ages,   it    is    absurd  to 


204  BEAUTIFUL    HOUSES. 

expect  that  one  should  preserve  the  traditions  of  an  earlier 
style,  and  at  the  same  time  meet  directly  the  requirements  of 
our  own  time.  All  that  one  can  do,  and  all  that  a  consci- 
entious artist  wishes  to  do,  is  to  preserve  the  spirit  of  the 
style  in  which  he  has  undertaken  to  work.  If  one  uses  the 
style  of  any  particular  time,  one  can  only  develop  it  through 
the  use  of  its  decorative  features.  Everything  else  must 
belong    to    the    spirit    of  the    time    in    which    he    lives. 

If  one  is  designing  a  house  of  this  kind  in  the  style  of 
the  Renaissance,  it  is  not  to  be  expected  that  it  will  be 
clearly  like  any  of  the  Renaissance  monuments  of  the 
sixteenth  and  seventeenth  centuries.  This  is  distinctively 
an  American  dwelling,  with  as  much  of  the  spirit  of 
that  time  as  can  be  developed,  and  with  certain  details 
which  belong  to  that  period.  It  is  a  mistake  of  the 
modern  German  architects  that  the}-  undertake  exactly  to 
reproduce  motives,  if  not  entire  structures,  of  earlier 
periods.  This  is  mere  copying,  and  the  result  reflects 
discredit  to  all  concerned.  The  buildings  of  Berlin  and 
its  suburbs  have  a  factory-made  look  which  far  removes 
them  from  great  works  of  art.  They  are  unsatisfactory 
not  merely  because  they  are  copies,  but  also  because 
they  are  not  beautiful.  In  art  the  end  always  justifies 
the  means.  One  sees  this  sort  of  thing  in  all  Germany. 
The)*,  with  their  academic  methods,  their  formal  processes, 
natural ly  walk  into  this  error.  We  Americans  are  far 
removed  from  any  danger  of  this  kind.  We  are  greatly 
lacking  in  scholastic  acquirements.  If  a  little  more  academic 
knowledge  could  be  infused  into  our  architecture,  it  would 
lead  us  from  much  that  is  wild  and  irrational.  We  are  at 
one    extreme,    and    the    Germans    at    the    other. 


SOME     HOUSE     PLANS.  —  Continued. 
CHAPTER    XVIII. 

STONE    HOUSES.  A    HOUSE    FOR    A    WIDE    EOT.  A    PLAN    WITH     LIVING-ROOMS    TO 

THE    SOUTH.  THE    FRONT.  FIFTEENTH    CENTURV. 

THE  stone  house  lends  itself  to  city  surroundings.  It 
matters  not  if  it  have  the  conventional  street-front, 
or  if  it  be  a  detached  structure.  Even  where  a  house 
is  built  connecting  with  others,  there  is  an  independence 
and  a  natural  strength  about  stone  which  preserves  the 
house  as  a  thing  apart.  The  mere  repetition  of  a  single 
design  in  houses  destroys  the  idea  of  domesticitv-  A 
row  of  houses  of  the  same  general  character  cannot  be 
associated  with  the  home  idea.  Certainly  there  can  be 
no  personality  in  one  of  a  great  number  of  houses  of 
this  kind.  It  is  easier  to  give  houses  each  its  own 
character  when  they  are  constructed  in  stone  than  when 
the}'  are  constructed  in  red  brick.  In  a  detached  house, 
which  is  certainly  the  best  place  to  display  stone  archi- 
tecture, the  independence,  the  separateness  from  surrounding 
buildings,  is  emphasized.  It  is  a  particularly  happy  circum- 
stance when  the  yard  can  be  large  and  the  building: 
surrounded    by    trees,    and    particularly    great    forest    trees. 

The     introduction    of    Romanesque     details     in     domestic 
architecture     had     not    a    little    to     do    with     brinsrins:     stone 

prominently    into    use    in     our     dwellings.       Mr.    Richardson 

205 


206 


BE  A  C  TTIFL  Z    HOUSES. 


was  responsible  for  this  movement.  He  has  had  many 
imitators,  but  few  who  have  worked  with  the  same  knowl- 
edge. The  use  of  the  forms  of  the  old  monastic  and 
ecclesiastical  architecture  to  clothe   the    houses    of  our    own 

times  is,  in  itself,  somewhat 
inconsistent,  though  Mr.  Rich- 
ardson carried  out  this  style 
in     a     more     refined     way    than 

Is  \~%X  ;sF?T±r""t   *     £w,i  $      belonged  to    it    originally.      His 

&,y?p  .•y^,^EgJ  II    ..    .  , 

imitators,  however,  have  not 
been  so  happy,  for  the  reason 
that  they  have  not  been  so 
thoughtful  or  intelligent.  Their 
interpretation  of  the  Roman- 
esque    is     an      architecture 


Hg.    148  —  First    Story. 


abounding  in  great  semicircular 


arches,  heavy  lintels,  ponderous 
dormers,  and  faced  with  large  quarry-faced  stones.  This 
is  often  done  without  the  compensating  influence  of  finer, 
more    delicate    details. 

A  stone  building  is,  in  itself,  strong  in  character. 
To  preserve  the  relation  to  home 
life,  its  details  should  be  fine 
and  the  general  outline  pleasing, 
rather  than  heavy  and  dignified. 
The  French  architecture  of  the 
late  fifteenth  and  early  sixteenth 
centuries  lends  itself  most  natu- 
rally to  domestic  purposes.  Pre- 
vious to  this  time  the  pretentious 
domestic  architecture    had    been    dis- 


SOME    HOUSE    PLANS. 


207 


tinctively  military  in  purpose.  While  it  was  naturally 
picturesque,  and  while  the  details  were  fine,  it  had  not 
assumed  the  distinctive  soeial  features  which  altogether 
changed  the  general  conception  of  the  earlier  chateaux 
of  that  time.  Those  built  during  the  fifteenth  and  six- 
teenth centuries  were  decidedly  social  in  character,  and 
w  h  i 1 e  they 
were  without 
the  distinct 
home  quality 
o  f  o  u  r  own 
time,  the  social 
element  was 
conspicuous  in 
the  form  and 
all  of  the  de- 
tails. 

The  floor 
plan,  which  is 
given  in  Figs. 
148  and  149, 
is  for  a  city 
house  on  a 
wide  lot. 
There    is    a 

broad  hall  in  the  middle  of  the  house.  The  stairway 
leads  to  a  broad  landing  between  the  first  and  second 
floors.  The  parlor,  dining-room,  sitting-room,  the  little 
library,  and  the  connection  between  the  porte-cochere 
to  the  side  hall,  the  kitchen,  butler's  pantry,  and 
kitchen-pantry      are      arranged       according      to      the      gen- 


Fig.    150.  —  Front    Elevation. 


2o8 


BEAUTIFUL    HOUSES. 


eral  principles  which  run  through  all  of  the  plans 
of  this  book.  The  second  floor  suits  the  individual 
requirements     of    the     people     for     whom     it    was     planned. 


Fig.    151.  — First    Story. 


Fig.    152.  —  Second    Story. 


While  the  controlling  principles  of  house-planning 
may  be  always  the  same,  there  must  yet  be  per- 
sonal habits  and  circumstances  which  control  the  details. 
On  the  third  floor  of  this  building  there  is  ample  space 
for  a  billiard  and  card  room  on  the  north  side.  A  large 
dancing-hall,  with  alcoves  leading  to  the  dormer  windows, 
is  over  the  other  part  of  the  house.  It  is  intended  that 
the  rear  porch  form  a  feature  of  this  structure. 
The  piers  are  spanned  by  large  arches,  and  it  is  so 
arranged  that    it  can    be   enclosed   during  inclement    weather. 


SOME    HOUSE    PLANS. 


209 


The  porch  roof  is  flat,  and  covered  with  a  wire  trellis 
over  which  to  train  vines.  This  roof  is  on  a  level 
with  the  stair  balcony.  The  entire  end  of  this  balcony 
is  one  great  window,  which  throws  light  into  the  hall 
below. 

In   lieu  of  a  porch  in   front,  the  front  door  is   approached 
by    a    terrace. 

The  floor  plans  shown   in  Figs.  151  and  152  are   arranged 
to    bring    the    principal     living-rooms    on    the    south    side    of 
the    house.     The   front   reception-hall    connects  directly  with 
the       parlor       and 
sitting-room,      which 
are      connected      by 
sliding-doors,         and 
can   thus    be  thrown 


together  so  as  to 
present  a  very  agree- 
able prospect.  The 
library  on  the  north 
side  is  properly  iso- 
lated. Back  of  it 
there  is  a  side-hall 
and  carriage-porch 
to   the   north. 

The  second  floor 
is      self-explanatorv. 

The  little  tourelles  in  the  front  form  closets,  and  are 
lighted  by  small  windows,  as  is  shown  on  the  eleva- 
tion. 

The  front   (Fig.    153),  in    the    style   of  the    late    fifteenth 
century     in     France,     is     well     adapted     in     its     outlines      to 


Fig.    153.  —  Front    Elevation. 


2IO 


BE  A  UTIFL  Z    vY6>  USES. 


the  artistic  requirements  of  an  American  dwelling.  All 
parts  are  of  stone,  yet  there  is  sufficient  of  openness  and 
fineness  of  detail  to  preserve  to  it  the  distinctively 
domestic  qualities  which  must  be  inseparable  from  a 
structure    of  this    character. 


:^ 


^s 


i.'s,- 


v.. 

■  fc"* 


;§^||l|8<- 


A  Bit  of  Decoration. 
(Louis  H.  Sullivan,  Architect. ) 


SOME     HOUSE     PLANS.  —  Continued. 
CHAPTER   XIX. 

BUILDING     FOR      INVESTMENT.  DEVELOPMENT     OF      AN     INVESTMENT      BUILDING.  

IMPROVEMENT    OF    RENTAL    STRUCTURES.  RAPID    TRANSIT    AND     RENTAL    PROP- 
ERTY.   ONE— ROOM      APARTMENTS      IN      GLASGOW.  LASTING      QUALITIES      OF 

FRAME     HOUSES.  THE     REPAIR      ACCOUNT.  THE     DOUBLE     HOUSE.  BRICK 

HOUSES.  A      SMALL      FRAME      HOUSE.  RANGES.  THE      BETTER      CLASS     OF 

TENANTS.  ROOMS       OVER       STORES.  FRENCH       AND       ENGLISH       FLATS.  A 

SMALL     KITCHEN. 

BUILDING  for  investment  might  well  be  the  subject 
of  a  volume.  Most  investment  houses  are  erected 
in  a  short-sighted  and  careless  manner,  and  in  the  end  do 
not  pay  a  fair  return  on  the  investment.  There  are  a  few 
notable  exceptions  to  this  statement.  In  some  of  the  larger 
cities  rental  property  is  well  constructed,  but  this  is  the 
result  of  expensive  lessons  from  bad  building.  The  first 
rental  property  erected  in  a  new  community  is  usually  very 
shabby.  The  workmanship  is  poor;  there  is  no  regard  for 
convenience  and  comfort.  The  occupants  are  not  ade- 
quately protected  from  the  heat  of  summer  or  the  cold  of 
winter.  The  sanitary  arrangements  are  bad.  In  the  course 
of  time  there  is  some  improvement  in  general  construction 
and  convenience  of  arrangement.  Still  later  it  is  discovered 
that  it  pays  to  put  a  bath-room  in  a  house,  but  it  is  done  in 
the  cheapest   possible   way  —  a    copper  tub,   a    cheap   water- 


2  12  BEAUTIFUL    HOUSES. 

closet,  and  the  workmanship  none  too  good.  In  the  course  of 
years  even  these  houses  are  out-classed,  and  it  is  found  nec- 
essary to  have  convenient,  well-built,  artistic  structures. 
They  may  not  be  large,  but  everything  must  be  substantial, 
well-arranged,  and  attractive.  At  first  the  cheapest,  com- 
monest rental-house  in  a  new  community  pavs  well,  but  in 
a  few  years  it  becomes  a  bad  investment.  The  well-ar- 
ranged, though  tawdry,  house,  with  a  few  conveniences, 
makes  it  necessary  for  the  owner  of  a  less  satisfactorv  build- 
ing to  rent  it  at  a  lower  price.  This  in  turn  becomes  true 
of  the  latter  structures  when  the  convenient,  honestlv  built, 
artistic    house    is    to    be    had. 

The  writer  has  seen  large  sums  of  money  used  in 
building  cheap,  showy  houses,  which,  in  a  few  vears, 
become  dilapidations.  He  has  seen  the  savings  and  accu- 
mulations of  wealthy  citizens  invested  in  a  class  of  propertv 
which  the  heirs  will  find  to  be  building-wrecks.  The 
owners  of  this  propertv  imagined  when  it  was  built  that 
the}'  were  realizing  ten  and  twelve  per  cent,  on  the 
investment,  while  in  fact  a  few  years  showed  that  their 
depreciation  and  repair  amounted  to  five  and  six  per  cent. 
In  building  cheap  propertv  one  must  remember  that  one 
does  not  have  to  calculate  interest  upon  one's  money  alone, 
but  also  upon  a  return  large  enough  entirely  to  rebuild 
the  propertv  within  relatively  a  few  years.  It  takes  an 
enormous  gross  return  to  pay  a  fair  interest,  fixed  charges, 
and  renew  the  principal.      In   truth,   it  is   rarely  accomplished. 

The  reduction  in  the  cost  of  building,  through  the 
introduction  of  labor-saving  devices,  should  be  considered 
in  connection  with  building  for  rental  purposes.  While 
the    view  of  the    situation    from    one    decade   to    another  will 


SOME    HOUSE     /'LANS.  213 

show  that  there  is  not  a  reduction  in  the  rate  of  wages, 
there  is  a  large  relative  reduction  in  the  rate  of  profit 
to  those  who  build.  A  two-dollar-and-a-half-a-day  car- 
penter can  do  much  more  in  the  way  of  finishing"  a 
house  to-day  than  he  could  two  years  ago.  Improved  ma- 
chinery brings  the  woodwork  to  him  in  better  shape  for 
placing  in  position.  It  is  more  nearly  finished  when  he 
gets  it.  The  handicraft  has  largely  gone  out  of  the  carpen- 
ter's trade.  He  merely  erects  what  comes  to  him  from  the 
machine. 

The  cost  of  brickwork  is  being  reduced,  independent  of 
the  fact  that  the  mason's  wages  have  not  been  reduced. 
The  brick  is  made  by  machinery,  dried  by  steam,  burned 
in  improved  kilns  which  utilize  a  very  large  proportion  of 
the  fuel,  and  thus  the  cost  of  the  building  is  greatly  reduced. 
The  cost  of  iron  and  steel  has  been  reduced  hy  methods  too 
well  known  to  require  mention.  The  same  principle  applies 
to  all  building  materials.  The  cost  of  the  labor  which  goes 
into  ail  building  products  has  been  reduced  by  mechanical 
and  systematic  methods  which  we  all  understand  in  a  gen- 
eral, if  not  in  a  particular,  way-  In  truth,  the  tendencv  of 
all  values  in  which  labor  plays  any  part  is  downward,  for 
the  reasons  given.  The  relation  of  this  fact  to  rental  prop- 
erty is  quite  plain.  One  can  build  a  better  house  for  thirty- 
five  hundred  dollars  to-day  than  one  could  ten  vears  ago. 
The  new  house  can  be  rented  to  the  tenant  who  lives  in 
the  thirt3*-five-hundred-dollar  house  built  in  the  last  decade, 
for  the  same  price  which  he  has  been  paying,  and  give 
him  a  better  house.  This  means  that  he  who  invested  his 
thirty-five  hundred  dollars  ten  years  ago  must  accept  a 
lower  rate   of  interest  than  the  one  who   invests   it  to-day. 


214 


BEAUTIFUL    HOUSES. 


When  there  are  a  relatively  large  number  of  rental 
buildings  being  erected  in  a  large  town  or  city,  there  is 
always  much  talk  about  over-building.  But  one  who 
observes  must  realize  that  it  is  never  the  new  buildings 
that  stand  vacant.  It  is  the  older,  inferior,  out-classed 
structures  which  cease  to  bring  a  fair  return  on  their 
original  cost.  This  necessitates  carefully  considered,  sub- 
stantial,   artistic    buildings    at    all    times. 

The  development  of  rapid  transit  naturally  brings  about 
great  changes  in  investment  property.  There  is  less  occa- 
sion   for    compact    building.      With    rapidly   moving    electric 

cars,  great  distances  can  be  cov- 
ered within  a  few  minutes.  This 
means  that  very  tall  flats  and 
apartment-houses  need  not  be 
built  in  cities  of  moderate  size, 
and  that  man)'  that  have  been 
built  will  cease  to  be  income- 
paying  property.  In  the  course 
of  time,  when  the  municipal 
authorities  are  wise  enough  to 
see  that  street-car  fares  are  re- 
duced, it  will  have  a  great  effect 
even  upon  the  tenement-house  investment.  It  will  not  be 
man)'  years  before  nearly  every  one  can  live  in  a  house 
surrounded  by  a  little  plat  of  ground,  and  all  because 
of  the  proper  development  of  means  of  low-cost  rapid 
transit. 

The  construction  of  rental  property  for  those  who  wish 
only  two  or  three  rooms  is  the  most  difficult.  Such  people 
cannot  afford    to   pay    street-car    fare  at    present    prices,    and 


Fig.  154. —  Floor  Plan. 


SOME    HOUSE    PLANS. 


2I5 


must,    therefore,    be     in     a     section    of    the     city     near    their 
work.      The     city    of    Glasgow    has     solved     this     problem 
exceedingly   well.      The    best    exemplification    of  their    plan 
is  in   the  buildings    in    the    region    of  the    old    Salt    Market. 
There     one    rinds     even     the 
one-room    apartment    con- 
veniently and  even  attractively 
arranged.      The  buildings  are 
large,     substantial     structures, 
four  stories    high.      The    first 
story    is    occupied    by    shops, 
and  the  others  by  apartments 
of  one    (Fig.    154),  two,   and 
three     rooms,     none     beino- 
larger  than  three.     The  stair- 
ways  leading    to    the    various 
floors    are  of  stone,    the    cor- 
ridor    walls     are     lined     with 
enamelled     brick,     which     is 
incapable     of    being     fouled, 
and  the  floors  of  the   corridor 
are     of  cement.      The    apart-  ~ 
ment     floors     are     of     well- 
laid     oak;     the    wood     trimming     of    the     doors     and    win- 
dows   is    narrow    in    width    and    well     painted.       The    range 
(Fig-    155),    is    set    in    tile.     In    front  of  it    is    a    hearth  and 
above  it  two  shelves.     As  one  enters  the  room,  the  impression 
is  of  an    ample    mantel    and    fireplace,   rather   than    a   range 
Some  of    the   cooking  utensils  are  suspended  against  the  til- 
ing,    and    on    the    two  upper  shelves    one    sees  plates,  spice- 
boxes,  and  a  clock.     In   appearance  it  is  not  greatly  different 


Fig.  155. —  Range  and  Mantel 


216  BEAUTIFUL    HOUSES. 

from  what  one  sees  in  a  sitting-room  or  a  dining-room  of 
an  American  home  of  the  better  class.  The  plates  and 
other  articles  of  utility  take  the  place  of  the  bric-a-brac  so 
common  with  us.  Near  this  fireplace,  as  shown  in  the  plan, 
there  is  a  pantry.  Under  the  window  there  is  a  sink,  and 
under  the  sink  a  place  for  coal.  Arranged  around  the  walls 
of  this  pantry  are  all  the  conveniences  of  housekeeping  that 
one  could  well  imagine  in  such  a  place.  Under  the 
window  in  the  main  room  is  a  window-seat  and  chest 
combined.  At  the  end  of  the  room  farthest  removed  from 
the  seat  is  an  alcove  for  a  bed.  This,  together  with  a 
closet  and  some  shelves  on  the  wall,  completes  the  equip- 
ment of  a  very  attractive  apartment,  which  rents  for  three 
or  four  dollars  a  month.  These  structures  were  built  by 
the  city  of  Glasgow,  to  show  the  reluctant  capitalists  of 
that  city  what  could  be  done  in  the  way  of  providing 
proper  accommodations  for  those  who  could  afford  to  pay 
only  a  very  modest  rental,  and  at  the  same  time  yield 
a  profitable  return  for  the  capital  invested.  The  result 
from  this  standpoint  has  been  entirely  satisfactory.  It  is 
an  interesting  fact,  in  connection  with  the  philanthropic 
work  of  that  great  municipality,  that  it  is  all  adjusted  on 
an  interest-paying  basis.  One  who  notices  these  things 
must  certainly  have  observed  that  philanthropic  investments 
which  do  not  pay  a  fair  return  upon  the  amount  of  capital 
and  labor  are  certain  of  failure  because  of  ultimate  neglect. 
Moderate-sized  structures  of  either  wood  or  brick,  if 
they  are  but  convenient  and  interesting,  will  usually  pay 
a  fair  return  upon  the  investment.  The  frame  house  is 
often  considered  temporary,  for  the  reason  that  many 
frame  houses  have  been   built  in    a    shabby,  temporary  way. 


SOME    BOUSE    PLA.XS. 


217 


It  has  been  my  pleasure  in  this  book  to  cite  many 
examples  of  frame  structures  of  a  substantial  character  which 
have  been  occupied  as  income-paying  property  since  the 
fifteenth  and  sixteenth  centuries  —  three  and  four  hundred 
years.  A  large  part  of  Hil- 
desheim  and  Halberstadt  is  of 
that  period.  These  buildings 
are  not  only  inhabited,  but  are 
in  an  excellent  state  of  repair. 
One  will  find  such  old  wooden 
structures  scattered  over  Great 
Britain     and    the    Continent. 

Some  of  the  details  which  were 

given     of     the     French     timber 

buildings     put    to    shame    all    of 

our    modern   ideas   of   carpentry. 

I     do     not     expect    our     people 

to  build  frame  structures  as  substantially  as  the   old  buildings 

ot    Europe.     I   cite   examples  of  buildings    of  this    character 

to  indicate  that  very  much 
better  modern  structures  may 
be  erected  than  those  to  which 
we  are  used.  We  may  ac- 
complish this  relative  result, 
and  still  not  closely  approach 
the  excellence  of  the  struct- 
ures to  which  reference  has 
been    made. 

Our     ordinary    weather- 
boarded    buildings    are    unsatis- 
fig.  157.-  second  storv.  factory     after     comparatively    a 


Fig.    156.  —  First    Story. 


21. 


BE  A  UTJFUL    HO  USES. 


few  years.  The  joints  bulge  out,  the  boards  get  out 
of  line,  and  the  structures  are  altogether  bad  in  char- 
acter. If  one  were  to  use  a  solid  seven-eighths-inch 
covering  of  the  kind  shown  on  page  153,  one  would 
find  that  it  would  last  for  a  very  long  time  without 
evidence  of  age.  The  framing  of  most  of  our  wooden 
buildings  is  so  carelessly  done  that  we  have  no  right  to 
expect  them  to  be  permanent.  The  framework  itself  is 
covered  with  a  common  grade  of  sheathing,  this  with 
paper,  and  finally  with  the  weather-boarding,  or  clapboard- 
ing,  as  it  is    called  in  many  sections.     Instead  of  the  rough 

sheathing,  with  its  open  joints, 
if  one  were  to  use  a  good 
grade  of  solid  flooring,  with 
its  tongued  and  grooved  joints 
well  driven  down,  running  the 
boards  on  diagonally,  there 
would  result  a  covering 
worthy  of  very  good  framing. 
Afterwards  this  could  be 
stripped  and  lathed  with  a 
metallic  covering  preparatory 
to  plastering,  or  it  could  be 
cross-lathed  and  plastered  ;  it  could  be  covered  with  solid 
seven-eighths-inch  siding,  of  the  character  previously 
referred  to,  or  it  could  be  shingled.  All  of  these  are  per- 
manent, and,  properly  treated,  can  be  made  very  inter- 
esting. But  this  alone  would  not  make  permanency.  The 
decorative  features  of  these  buildings  should  be  developed 
so  as  to  give  no  opportunity  for  water  to  get  behind 
them     and     cause     decay    and     eventual     destruction.       It     is 


Fig. 


.  —  Third    Story. 


SOME    HOUSE    PLANS. 


219 


entirely  possible  so  to  do  all  this  work  that  it  will  stand 
the  ravages  of  years  witho'nt  appreciable  expense  for  repairs. 
The   repair  account   on   a  great  deal  of  investment  property, 


Fig.   159.  —  Exterior. 


particularly  of  the  West,  has  been  very  large  ;  and 
unnecessarily  so,  because  of  the  unexpressed  thought  in  the 
minds  of  many  people,  that  great  care  and  attention  were 
not  necessary  for  a  rental  house.  It  has  ordinarily  been 
true  that  nearly  anything  would  rent  ;  but  as  the  country 
grows  older  this  idea  is  dissipated,  though  the  habit  of 
building  carelessly  does  not  disappear  at  the  same  time. 
The    very    essence    of  a    s^ood    investment    of  this    character 


2  20 


BE  A  UTIFUL    HO  USES. 


is     to      build      something    which    does      not     require      future 
expense.     It    is    simply    a    question    of  good    building. 

The  house  shown  by  Figs.  156  and  157  has  been 
built  substantially  as  here  shown  many  times,  though 
the  details  in  plan,  as  well  as  in  construction,  are 
here  better  developed  than  ever  before.  The  stair-landing 
usually  has  been  kept  inside  of  the  main  lines  of 
the  hall.     This    has   always  made  the   stairway  more  or  less 


Q/ty* 

Fig.    160. —  First    Story. 


Fig     161.  — Second    Story. 


cramped.  It  has  made  it  difficult  to  get  furniture  up  and 
down,  and  while  it  is  really  better,  where  the  mover  is 
properlv  provided,  to  take  furniture  in  through  the  second- 
story  windows,  there  is  a  prejudice  against  this  method. 
In  this  instance  the  stair-landing  is  all  outside  the  main 
lines  of  the  house  ;  that  is,  it  is  overhanging.  In  other 
respects  this   plan   is  so    much   like    many   other  plans   which 


SOME    HOUSE    PLANS. 


2  2  1 


I  have  made  that  I  will  not  explain  it  in  detail.  There 
are  two  good  rooms  on  the  third  floor.  (Fig.  158.)  There 
arc  none  better  in  the  building  than  these.  The  division 
wall  between  the  two  sides  is  of  brick,  and  is  eight 
inches  in  thickness.  Many  frame  houses  are  built  with  a 
rilling  of  brick,  four  inches  in  thickness,  between  the  studs. 
This  does  not  prevent  the  passage  of  sound.  Nothing  less 
than  an  eight-inch  wall  is  satisfactory  for  that  pur- 
pose. Fig.  159  makes  plain  the  external  features  of  this 
building. 

The  plan  shown  in  Figs.  160  and  161  has  six  rooms 
and  a  bath  on  each  side.  The 
stairway  is  a  combination  affair, 
and,  in  a  building  of  this  kind, 
is  satisfactory.  The  laundry 
apparatus  in  both  of  these 
houses  is  in  the  basement. 
The  cellar  floors  are  of  cement, 
and  as  the  rooms  are  well 
lighted  from  above,  thev  are 
eminently  satisfactory  for  this 
purpose.  Two  water-closets  are 
provided,  one  in  the  bath-room 
and  one  in  the  basement.  A 
privy  building  should  never  be 
thought  of  in  connection  with 
any  city  structure.  Even  if 
there  must  be  only  the  vault 
on  the  outside  rather  than  a 
sewer,  it  is  best  to  have  the  water-closet  on  the  inside 
of    the    building.       If  the    plumbing  work    is    properlv    done 


Fig.    162  —  First    Story. 


BEAUTIFUL    HOUSES. 


according  to  a  skilfully  drawn  specification,  there  is  no 
more  risk  from  a  sanitary  standpoint  with  a  vault  than 
there   is  with  a  sewer.     Under  any  circumstances  the  danger 


Fig.    163.  — Second    Story. 


Fig.    164. —  Third    Story. 


grows   out  of    unskilful    plumbing,   and   never  from  the   vault 
or    sewer    alone. 

Buildings  of  this  kind  should  be  finished  in  hard  wood 
throughout.  While  it  is  well  to  paint  that  in  the  kitchen 
and  pantries,  all  other  parts  of  the  house  should  have  a 
varnish  or  hard-oil  finish.  The  floors  should  be  at  least 
as  good  as  narrow-worked  (say  three  inch )  yellow  pine, 
and  should  have  a  proper  floor-finish  before  the  house  is 
occupied.  Thus  it  is  not  necessary  for  the  tenant  to  pur- 
chase a  large  outfit  of  carpets  or  other  floor  covering 
than    rugs,    which    may    be    used    as    well     in     one     building 


SOME    HOUSE    PLANS. 


223 


as  in  another.  If  one  wished  to  put  down  a  carpet  it 
could  be  done.  It  is  not  usual  in  the  West  to  supply 
ranges.  This  should  be  done,  whether  it  is  usual  or  not. 
It  is  a  measure  of  economy.  The  moving  in  and  out  of  a 
heavy  range  is  calculated  to  work  great  injury,  and  always 
causes  direct  expense  in  connection  with  the  hot-water 
apparatus.  A  tenant  will  pay  a  larger  rental  for  a  house 
furnished  with   hard-wood   floors    and    a    range  than    for    one 


Fig.    16=;.  —  Two    Double    Houses. 


less  satisfactorily  equipped  in  this  respect.  In  other  respects 
the  character  of  good  building  is  always  self-evident  in 
general  ways.     Porcelain-lined  tubs  always  command  respect, 


24 


BE  A  L  TTIFl  X    HO  USES. 


Fig.    166.  —  Parlor. 


and  good  general  construction  expresses  itself  in  many 
ways.  Add  to  this  an  artistic  conception,  and  the  building 
will  never  be  out  of  style.  Good  taste  and  good  sense 
are    always    in    style. 

In  every  moderate-sized  city  there  is  a  demand  for 
rental  property  containing  a  larger  number  of  rooms  than 
any  of  the  houses  which  have  been  described  in  this 
chapter.  The  successful  merchant  who  can  profitably 
employ  all  of  his  capital  in  his  business,  the  railroad 
superintendent  or  other  officer  who  may  be  transferred  to 
another  city,  finds  it  more  desirable  to  rent  than  to 
own  property.     The    number    of  such    tenants     is     not    rela- 


SOME    HOUSE    PLANS. 


225 


tively  large.  They  seek  the  best  that  is  offered,  and  are 
disposed  to  pay  a  fair  price  for  it.  Figs.  162,  163,  and 
164  are  the  floor  plans  of  a  double  brick  house  of  this 
character.  The  principal  object  of  interest  in  connection 
with    this    building1    is    the    lighting     of    the     main     half       It 


Fig.    167.  —  Sitting-Room    and    Stair-Hail. 


has  windows  in  the  rear,  which  are  connected  with  an 
open  court.  Thus,  in  coming  in  from  the  front  door,  one 
faces  the  light  rather  than  the  darkness  which  is  so 
common  in  structures  of  this  kind.  The  dining-room  is 
lighted  from  each  side  ;  that  is,  one  side  is  on  the  court 
and    the    other    on    the    outside    of  the    house.      This    court, 


226  BEAUTIFUL    HOUSES. 

it  should  be  understood,  is  open  at  the  end,  and  of  course 
at  the  top.  It  presents  means  of  thoroughly  lighting  and 
ventilating  all  of  the  halls  and  rooms.  The  sitting-room 
in  this  plan  is  merely  separated  from  the  hall  by  a  screen 
of  open    woodwork. 

This  building,  as  well  as  all  others  described  in  this 
chapter,  is  heated  from  a  furnace  in  the  basement.  There 
is  a  laundry  under  the  kitchen,  and  a  bath-room  on  the 
second  floor,  which  is  well  fitted  with  the  best  modern 
plumbing  fixtures.  The  entire  structure  is  provided  with 
speaking-tubes,  electric  and  gas  light,  —  all  of  which  makes 
a  complete  and  satisfactory  house.  Before  these  houses  were 
occupied,  or  even  rented,  all  of  the  walls  were  properly 
decorated,  the  floors  finished,  and  altogether  quite  as  much 
thought  and  attention  were  given  to  them  as  could  be 
given    to    a    house    which    the    owner    intended    to    occupy. 

The  view  of  the  exterior  (Fig.  165)  shows  that  there 
were  two  of  these  double  houses  erected  —  varying  as  to 
the  exterior,  but  of  the  same  floor  plan.  The  one  on  the 
right  hand  was  designed  in  the  style  of  the  earl}-  French 
Renaissance  ;  the  one  on  the  left  in  that  of  the  later 
Dutch  Renaissance.  All  of  the  details  were  very  care- 
fully studied  and  executed,  with  a  view  of  presenting  two 
structures  dissimilar  in  style  and  external  appearance,  at 
the  same  time  that  there  would  be  no  broad  difference 
of  opinion    as    to    the    relative    merits  of  the    two    designs. 

No  one  likes  to  live  in  a  row  of  houses  where  all  are 
alike.  In  these  structures  the  style  of  the  interior  doors 
and  of  the  woodwork,  the  hardware,  the  mantels,  the 
decorations  and  all  were  varied,  so  that  the  impression 
of  sameness  and  the  idea  of  the  duplication  of  parts  would 


SOME    HOUSE    PLANS. 


227 


be  dissipated  as  far  as  possible.  It  has  been  a  source  of 
great  pleasure  to  the  designer  to  be  asked  which  one 
of  the    buildings    was    his    work. 

A  great  many    of  the    rooms    over    the     stores     in     small 
cities,     and     the 
outlying   districts 


in 


larsrer     ones, 


do  not  bring  an 
adequate  return 
on  the  invest- 
ment, for  the 
reason  that  they 
are  not  properly 
arranged  for 
rental  purposes. 
There  is  simply 
a  division  of 
space,  indefi- 
nitely spoken  of 
as  rooms.  A 
three-story  build- 
i  n  g  m  a  y  be 
profitably  rented 
as  apartments  if 
the  exterior  is 
made  sufficiently 
i  nteresting  to 
command  re- 
spect, and  if  the 


Fig.    168. — A    Store    Building. 


Outside  of  the  large   cities,  living 


interior  is  well  planned 

in    blocks    and    above    stores    carries     a     certain     amount    of 


228 


BEAUTIFUL    HOUSES. 


stigma  with  it.  This  is  largely  true  because  such  places 
are  not  fit  to  live  in.  They  are  not  arranged  for  living, 
and  their  occupancy  is  associated  with  discomfort,  if  not 
with  uncleanliness.  But  it  is  astonishing  how  quickly  peo- 
ple change  their  minds  when  sufficient  reason  is  afforded 
therefor.  If  property  which  so  often  does  not  pay  can 
be  arranged  on  a  profitable  basis,  it  will  add  just 
that  much  to  the  wealth  of  the  individual  and  the  com- 
munity. In  France  and  most  of  the  large 
cities  of  Great  Britain,  nearly  every  one 
lives  in  apartments.  This  was  primarily 
brought  about  by  necessity,  and  the  necessity 
has  developed  good  plans.  The  fact  of 
there  being  a  store  on  the  first  floor  does 
not  detract  from  the  high  character  of 
the  apartments,  providing  their  arrange- 
ment,    convenience,     and     equipment     justify 


such    a    rating. 

A  French  apartment  cannot  be  used 
in  America  just  as  found  there  where 
they  are  nearly  always  over  shops.  The 
American  store  is  a  different  thing  from  a 
foreign  shop,  the  average  depth  of  which  is  twenty-five  or 
thirty  feet.  Back  of  the  shops  are  the  stairways,  courts,  and 
rooms  for  the  concierge  or  care-taker  of  the  establishment. 
The  American  store  must  be  from  sixty  to  a  hundred  or 
more  feet  in  depth.  Hence,  apartments  above  stores 
must  be  adapted  to  new  conditions.  The  elevation  shown 
in  Fig.  168  is  of  a  building  of  this  character.  The 
entrance  to  the  stairway  and  its  relation  to  the  other 
parts     of    the     building     are     clearly     shown.       The     second 


Wr4-J 


Fig.    169. —  Living- 
Rooms  over  Store. 


SOME    HOUSE    PLANS.  229 

floor  is  approached  from  a  stairway  to  the  left  of  the 
store,  and  each  apartment  has  its  distinct  doorway  opening 
into  a  hall,  which  belongs  to  it  alone.  If  the  building 
were  three  stories,  the  stairway  to  the  third  story  would 
be  in  the  middle,  and  give  the  same  arrangement  on 
the  third  floor  for  both  apartments  that  is  shown  on  the 
second  floor,  excepting  that  the  dining-room  would  be 
longer  and  the  fuel-room  better  arranged  than  for  the 
front    apartment    in    the    second    story. 

The  small  kitchen  would  disturb  most  Americans, 
unless  they  haye  lived  in  a  French  apartment  and  been 
comforted  by  a  French  kitchen,  which  is  usually  not  more 
than  five  or  six  feet  wide  and  eight  to  ten  feet 
long.  What  is  wanted  in  a  kitchen  is  convenience  rather 
than  size.  The  range  should  be  built  in  a  lame  alcoye, 
and  a  hood  provided  oyer  it,  with  ample  opening  to  the 
exterior,  so  that  absolutely  all  of  the  heat  can  be  drawn 
out.  The  efficiency  of  snch  an  arrangement  cannot  be 
questioned.  Joining  the  range  are  a  table  and  a  sink. 
The  sink  has  hot  and  cold  water  connections.  Above  the 
head-height  and  around  the  kitchen  are  shehes,  and  pro- 
jecting into  the  court  is  a  little  screened  cooler,  with  a 
door    in    it. 

In  this  plan  (Fig.  169)  we  haye  a  court  beginning  with 
the  ceiling-joist  of  the  storeroom,  which  should  be 
entirely  open  at  the  top  and  covered  with  a  tin  roof  at 
the  bottom.  If  need  be,  a  skylight  could  be  provided 
to    throw    light    into    the    store. 

With  proper  arrangements  for  getting  rid  of  garbage 
and  for  marketing,  no  one  need  ever  leave  the  apartment 
excepting    for    business    and    recreation  ;    and    the    difference 


23° 


BE  A  UTIFUL    J I  ( )  USES. 


in  housekeeping,  as  compared  with  that  of  larger  estab- 
lishments, is  hardly  to  be  estimated,  excepting  through  expe- 
rience. This  floor  plan  and  arrangement  are  typical  of  a 
very  modest  development  of  apartment  rooms  over  stores. 
The  situation  chosen  was  with  no  direct  light  on  either 
side,  because  of  its  difficulties.  However,  direct  light 
is    let    into    each    room. 


Decorative  Motive. 
(Louis  II.  Sullivan,  Architect.) 


SOME     HOUSE     PLANS.  —  Concluded. 
CHAPTER     XX. 

PERSONAL      CHARACTER       EXPRESSED      IN       HOUSE-BUILDING.  A      HOUSE      FOR      THE 

BRIGHT,     CHEERY     LITTLE     WOMAN.  FOR     THE    EXACT,     DELIBERATE     BUSINESS 

MAX.  THE     PICTURESQUE    CHARACTER.  LEGITIMATE    VARIATION     OF     DESIGN 

INFLUENCED     BY     PERSONALITY.   A      MISCELLANEOUS      COLLECTION      OF     HOUSE 

PLANS. 

FROM   the   architect's  standpoint,  the   designing  of  a  house 
is  a  great  character-study.      He  need   not    feel    that  he 
must     pamper    the     taste    of    people.       He     may,     however, 


Fig.    170. 
231 


232 


BEAUTIFUL    HOUSES. 


study  their  general  disposition,  satisfy  their  general  require- 
ments, and  not  depart  from  an  artistic  impulse.  It  would 
be  quite  absurd  to  expect  all  to  build  houses  of  the 
same     character.       The     dignified    professor    does     not    have 


Fin.    171 


the  same  taste  in  house-building  as  his  less  serious 
neighbor,  whose  disposition  is  moulded  by  a  less  serious 
calling.  It  would  be  altogether  inconsistent  and  uncalled- 
for  if  the  architect  should  insist  upon  clothing  all  his 
houses  with  the  same  character  of  design.     A  bright,  enthu- 


SOME    HOUSE    PLANS. 


233 


siastic,  cheery  little  woman  goes  into  an  architect's  office  to 
talk  about  a  house.  It  would  be  quite  absurd  to  design 
for  her  a  building  similar  to  that  which  would  be  satisfying 
to  a  quiet,  exact,  deliberate  business  man.  The  architect 
need  not  be  a  puppet  to  meet  all  these  conditions. 
He     should     have     knowledge     of     architectural      styles,     as 


Fig. 


well    as    knowledge    of    character.       The    college    professor 
may   wish  his  house   to    be    as    unobtrusive    as    possible  ;    he 


234 


BEAUTIFUL    HOUSES. 


may  wish  it  to  attract  little  attention,  to  sit  quietly  in  its 
yard.  He  may  wish  people  to  pass  by  it  without  think- 
ing of  it,  without  recognizing    that    it    is    a    new    house.     It 


L^^^^5C3EM'!WP'' 


is  to  be  reposeful.  The  owner  leads  a  quiet,  studious 
life. 

The  bright  and  enthusiastic  little  woman  who  dominates 
her  household  is  not  pronounced  in  her  taste,  nor  is  she 
in  search  of  public  applause.  She  merely  wants  a  home 
which  is  suited  to  her  own  happy  moods,  one  which  will 
interest  her  friends.  Its  details  are  all  in  good  taste,  it 
is  quietly  picturesque  in  character,  has  a  hospitable  porch, 
quaint,  interesting  detail,  nooks  and  cosey  corners  in  the 
interior,  and  all  that  goes  to  express  bright,  interesting 
social    life. 

There    is   another    character,    of   an   extreme   but    not    un- 


SOME    HOUSE    PLANS. 


235 


usual  type,  —  the  smart  trader  who  has  accumulated  wealth 
rapidly,  who  has  surprised  himself,  and  who  wishes  the  world 
to  know  the  general  result.  He  would  express  himself  in 
architecture.  What  is  the  conscientious  architect  to  do 
with  him  ?  This  character  steps  briskly  into  an  architect's 
office  on  a  bright  day  in  early  spring.  He  wears  tan 
shoes  and  a  silk  hat,  not  well  placed  ;  a  purple  necktie 
and  bright  kid  gloves.     An   Old    Colonial    house  will  not  do 


for  him.  His  building  must  not  sink  back  among  the  trees. 
He  owns  the  best  corner  on  the  best  street.  It  must  be  a 
good-looking  house,  and  it  must  not  cost  too  much  money. 
Must  the  architect  try  to  reform  him  ?  Such  an  effort 
would  be  without  avail.  Must  he  make  a  house  to  fit 
the  tan  shoes,  the  purple  necktie,  the  silk  hat,  and  the 
lake  gloves  ?  Not  that.  Here  is  a  man  of  rather  brilliant 
taste.  He  wants  something  picturesque.  Are  all  picturesque 
things  in  bad  taste  ?  are  they  unworthy  ?  Is  it  beneath 
the   dignity  of  an  artist  to  do  the  picturesque  thing  ?     Look 


236 


BE  A  UTIFUL    HO  USES. 


to  Brittany,  to  Normandy,  Holland,  and  Germany,  Switzer- 
land and  England,  during  the  period  of  the  Renaissance  ; 
look  to  the  mediaeval  architecture.  Give  to  this  client 
something  which  is  picturesque  ;  in  truth,  rather  brilliant 
in  outline,  and,  when  it  comes  to  making  the  details,  refine 
them  to  the  last  degree.     The  architect  has  satisfied  his  client, 


^Jvcjccy^  /rho'Tp 


Ifc'XH- 


^y^yr^J^Tf). 


Fig.    i75- 


and  in  the  refinement  of  detail  he  fully  justifies  him- 
self. The  wild  architecture  of  most  of  the  Western  cities 
indicates     clearly     enough     that     the     disposition      of     most 


SOME    HOUSE    PLANS. 


237 


people  who  build  leads  them  to  the  picturesque.  Most 
of  them  have  only  what  is  crude  in  outline,  as  well 
as    what     is    obnoxious    in    detail. 

The    illustrations    given   are   all  of  an    extreme  character. 


Fig.    176. 


Every  architect  will  recognize  them.  If  he  is  wise,  he  is 
not  annoyed  or  disturbed  by  any  of  them.  Each  is  a  type, 
and,  as  soon  as  he  meets  it,  he  knows  exactly  what  to 
do.  It  is  the  effort  to  reform  every  one  with  whom 
one  comes  in  contact  which  makes  trouble.  People  do 
not  go  into  an  architect's  office  to  be  reformed.  The 
architect  can  justify  himself  and  his  art  along  the  lines 
which   have   been   here    laid    out,    and    in   so    doing   he   need 


238 


BE  A  UTIFUL    HO  USES. 


not  feel  that  he  is  in  the  least  debasing  his  art.  There  is 
no  reason  why  he  should  make  an  inartistic  outline  or  detail. 
If  there  is  difficulty  in  satisfying  a  client  either  as  to  floor 
plan  or  general  design,  the  architect  may  well  take  the 
blame  to  himself.  It  is  altogether  a  question  of  resource 
on  the  part  of  the  designer.  No  general  problem  is  ever 
presented  to  an  architect  which  may  not  be  worked  into 
an  artistic  success.  It  is  a  question  of  artistic  resource 
and    the    study    of  character. 

The  plans  which  are  pictured  in  this  chapter  were  de- 
veloped in  a  varied  practice,  and  for  them  no  apologies 
arc  offered.     They  are  quite    satisfactory    to    the    people    for 


Fig.    i77-  —  Firm    Story. 


Fig.    178.  —  Shcond    Story. 


whom  they  were  made.  As  floor  plans  the}7  are  all  con- 
venient from  a  housekeeper's  standpoint,  and  when  viewed 
aesthetically  the}-  are    not   ugly.     The    house   represented    by 


SOME    HOUSE    PLANS. 


239 


Figs,  170,  171,  and  172  is  one  of  moderate  cost  and 
relatively  large  accommodation.  There  are  four  good 
rooms    on    the    main     floor,    live     bedrooms    on    the     second 


Fig.    179. —  Front    Elevation. 


floor,  three  bedrooms  and  storeroom  on  the  third.  It 
serves  the  purpose  of  housing  a  large  family  at  a  rela- 
tively   small    cost. 

Figs.  173,  174,  175,  and  176  represent  a  compact 
house  of  low  cost.  The  three  principal  rooms  on  the 
main  floor  are  arranged  with  reference  to  the  greatest 
possible  economy  of  labor  in  housekeeping  ;  there  are 
three  bedrooms  on  the  second  floor,  and  two  good 
rooms  on  the  third.  Classic  or  Old  Colonial  details  are 
used    in    the    clothing-    and    decoration    of  this    structure. 

Figs.  177,  178,  and  179  are  of  a  house  of  the  gen- 
eral character  frequently  erected  in  country  towns  by 
the  successful  merchant,  banker,  lawyer,  or  other  pro- 
fessional   man.      Bearing   in    mind   that  the   general   arrange- 


240 


BEAUTIFUL    HOUSES. 


ment  of  the  floor  plan  has  been  influenced  by  all  of 
the  principles  of  convenience  which  have  controlled  the 
planning     of    other     structures     described     in    detail    in     this 


Fig.    180. 


book,  and  in  the  one  on  Convenient  Houses,  it  is 
unnecessary  to  go  into  a  detailed  description  at  this 
time. 

Figs.    180   and    181    are    of  a   house  with    South    German 
outline   and   general    form,  though    the    details  —  that    is,  the 


SOME    HOUSE    PLANS. 


241 


mouldings  and  strictly  decorative  forms  —  are  worked  out 
from  the  Byzantine.  Many  of  the  details  of  the  South 
German  architecture  of  the  sixteenth  and  seventeenth  cen- 
turies are  rather  common  in  character  ;  but  by  using  the 
South  German  forms  one  can  get  a  very  beautiful  outline, 
and  with  the  Byzantine  details  can  secure  great  refine- 
ment. 


Fig.    181. 


MATERIALS     AND     DETAILS. 

CHAPTER     XXI. 

SHINGLE-HOUSES.  THE       PROPER       SURROUNDINGS.  THE      STAINS       OF       TIME.  

ARTIFICIAL     STAIN.  EXAMPLES.  SLATE     WALLS. 

THOSE  who  like  shingle-houses  like  them  very  much. 
Those  who  dislike  them  go  to  the  other  extreme. 
There  are  no  moderate  expressions  from  the  public.  A 
great  deal  of  bad  work  has  been  done  in  shingles.  This 
material  should  be  considered  merely  as  a  medium  for 
artistic  expression.  An  artist  may  use  charcoal,  water- 
colors,  oil,  or  pastel  ;  the  artist  house-builder  may  use 
shingles,  brick,  weather-boarding,  or  plaster.  Each  is  a 
medium.  The  mistake  in  the  use  of  shingles  has  been 
in  placing  them  where  they  do  not  belong,  using  them 
in  ways  not  justified  by  the  character  of  the  material. 
A  shingle-house  on  a  narrow  lot  and  a  busy  street 
is  out  of  place.  A  shingle-house  should  be  associ- 
ated with  a  green  lawn,  a  little  clump  of  bushes,  old- 
lashioned  roses,  hollyhocks,  and  other  picturesque  flowers. 
A  shingle-house  crowded  close  to  the  sidewalk  is  mis- 
placed. 

People  do  not  discriminate  closely.  They  say,  "  Here  is 
a  new  shingle-house  ;  it  does  not  look  well  ;  why  were 
shingles  ever  used  in  this  way  ? "  The  improper  use  of 
shingles,    in    combination    with  typical    planing-mill  brackets, 

242 


MATERIALS    AND    DETAILS. 


243 


common  turned  columns,  ugly  j|g-sawing,  and  over-wrought 
gables,  always  makes  an  ugly  picture.  In  many  commu- 
nities   such     may    be     the     only    example     of    shingle-work. 


Fig.    182. —  Old    Roses    and    Hollyhocks. 


People    of    natural     good-taste    are     repelled     by    it.     Those 
who    accept    all    fads    adopt    it. 

There  can  be  no  question  but  that  some  of  our  best 
work  has  been  done  in  shingles.  Shingles  left  to  their 
natural  color  or  properly  stained  are  infinitely  better  in 
color  than  paint.  There  is  a  natural  lack  of  uniformity,  and 
a  richness  of  tone,  in  shingle  colors  which  are  not  found 
in  other  materials  used  in  wall  covering.  The  nearest 
thing     to    it    is     the    color    found    on     buildings    which    have 


244 


BE  A  UTIFUL    HO  USES. 


never  been  painted,  or  from  which  the  paint  is  entirely 
worn  off.  The  rich  grays  which  come  in  this  way  are 
unexcelled  by  any  of  the  artificial  preparations.  The  use 
of  stains,  like  any  good  thing,  has  been  abused.  Colors 
which    should    never   have    been     applied    have    been    used, 


Fig.    t8?  — Old    Connecticut. 


and  the  search  for  novelties  has  done  what  it  always 
does  —  crushed  out  the  artistic.  Some  of  the  stains  have 
been  made  to  counterfeit  the  appearance  of  old  age,  but 
unsuccessfully. 

There  can  be  no  doubt  but  that  some  of  the  best 
houses  which  have  been  built  with  shingles  were  un- 
stained,   and    left    to     take     the     beautiful    gray    color    which 


MATERIALS    AXD    DETAILS. 


245 


nature  gives  them.  But  most  of  us  are  too  impatient 
to  wait  for  nature's  coloring.  We  have  at  our  hand 
bleaching  materials  which  are  really  of  some  service  in 
hastening  the  natural  process.  Under  any  circumstances, 
the  owner  feels  that  in  using  this  material  he  is  really 
doing  something  which  may  be  of  avail,  and  is  thus  easily 
led  into  doing  the  right  thing.  This  bleaching  compound 
is  as  near  nothing  as  one  can  well  imagine.  The  shino-les 
look  about  the  same  after   it   is   put   on   as   they  did    before; 


Fig.    184.  —  One    of    Richardson's    Houses. 


but  it  satisfies  a  house-builder's  active  impulse,  and  thus 
leads  to  more  patient  waiting.  The  writer  does  not  pro- 
pose    to     decry    the     use     of     stains,    but     wishes    to     show 


246 


BEAUTIFUL    HOUSES. 


that  some  of  the  best  work  has  been  done  without  them. 
Some  of  the  light-brown  stains  give  colors  which  improve 
with    time,    and    are    very    beautiful. 

The      old      Connecticut      structure      (Fig.      183)      is      no 


Fig.    185.  —  A   City    Picture. 

(L,Ouis   II.   Gibson,   architect.) 


doubt  one  of  those  examples  which  led  to  the  use  of 
shingles  in  house-building.  The  situation,  the  fences,  the 
stone  walls  with  their  splendid  colors,  the  bushes,  trees, 
and  the  surrounding  country,  are  exactly  right  for  this 
kind  of  a  house.  This  is  one  of  those  rare  instances 
where  the  house  forms  an  agreeable  part  of  the  landscape. 
These  shingles  were  the  old-fashioned  hand-split  shingles, 
and  one  can  well  understand,  by  examining  this  picture, 
that  thev  have  been  on  these  walls  for  many  years,  and  that 
their  color  is  not  comparable  with  any  artificial  product. 
This     picture     of    one     of     Richardson's     houses     (Fig* 


MATERIALS    AND    DETAILS. 


247 


184)  indicates  a  fairly  successful  treatment  of  a  city 
shingle-house,  though,  with  brick  and  stone  houses  around 
it  and  electric-cars  near  it,  one  feels  that  it  is  misplaced. 
Not  but  that  it  is  beautiful,  but  it  is  not  in  the  riffht 
company.  The  shingles  of  this  building  are  laid  with  a 
little  more  surface  to  the  weather  than  is  common,  and 
on  this  account  alone  it  is  more  pleasing  than  some  other 
examples.       The      surfaces      are      somewhat       broader      and 


Fig.    186. 


248 


BEAUTIFUL    HOUSES. 


Fig.    187.  — A    Seaside   Picture. 

(Arthur  Little,   architect.) 


less  disturbed  by  this  means.  The  reader  may  profit 
by  noting  the  simplicity  of  detail,  or  rather  the  almost 
complete  lack  of  detail,  on  this  building.  It  is  good 
composition,  without    any    attempt    at    decorative    effects. 

The  little  house  on  the  corner  (Fig.  185)  looked  better 
without  its  neighbors  than  with  them.  It  was  built  several 
years  ago,  when  the  surrounding  lots  were  vacant,  when 
the  street  in  front  was  not  quite  so  prim  as  with  its 
present  asphalt  covering.  There  were  trees  on  the  vacant 
lots,  and  altogether  the  surroundings  were  more  congenial. 
It  is  interesting  to  notice  the  beautiful  shadows  which  the 
square  projecting  roof  casts  on  the  circular  corners.  In 
summer,  when  the  vines  grow  up  near  the  veranda-posts, 
they    help    to    make    an    interesting    picture. 


MATERIALS    AND    DETAILS. 


249 


The  training  of  an  artist  shows  in  this  house  (Fig. 
187).  The  broad  lawn,  the  low,  flat  building,  with  its 
simple  detail,  have   just  enough  of  the  picturesque  to  make 


*f  *^~~ 


Fig. 


In   California. 


a  picture.  The  architect  has  worked  out  the  composition 
exactly  as  a  painter  would  produce  a  picture,  and  the 
lawn,  the  building  and  general  surroundings,  form  one 
complete  motive.  The  details  are  very  simple,  and  very 
tine  and  delicate.  It  is  not  the  kind  of  structure  to  attract 
the  attention  of  the  ecstatic,  and  this  is  one  of  its  great 
merits.  It  is  a  natural  house,  and  forms  a  part  of  one 
of  nature's  pictures.  One  almost  wishes  that  the  large 
projecting  hood  had  been  left  off  the  doorway;  yet,  with 
all  the  other  things  which  are  so  good,  one  cannot  ex- 
press  dissatisfaction.     This  feature   shows,  as  clearly  as  pos- 


250  BEA L  I'll- 1  7-    HOUSES. 

sible,  the  influence  of  bad  example,  even  upon  an  edu- 
cated architect  and  a  trained  artist.  At  the  time  when 
this  house  was  built  there  was  quite  a  reaching  after 
these  strained  effects,  and  this  half-dome-shaped  hood 
over  the  window  is  the  result  of  the  impression  made  by 
these  bad  examples,  It  shows  how  difficult  it  is  to  resist 
such    influence. 

Slate  is  used,  much  as  we  use  shingles,  for  covering 
houses  in  the  smaller  towns  and  cities  of  France.  There 
is  an  example  of  such  a  structure  on  page  43,  taken  from 
Lisieux.  In  the  old  mediaeval  city  of  Vitre,  in  Brittany, 
there  is  a  very  large  number  of  these  slate-covered  struct- 
ures. At  other  times  one  rinds  the  slate  used  to  cover 
the  timbers  of  the  half-timber  buildings.  There  are  many 
examples  of  this  kind  of  work  in  Rouen.  Slate  covers 
the  braces  and  uprights,  while  the  space  between  is  filled 
with  concrete.  These  things  look  quite  well  with  their 
mediaeval  surroundings,  and  appear  to  fit  the  tradition 
which  goes  with  them,  but  are  not  appropriate  to  the 
modern  city.  They  may  furnish  us  with  inspiration,  but 
not    with    examples    for    transportation. 

It  may  be  interesting  to  know  that  shingles  make  a 
warmer  wall  than  weather-boarding  or  other  wood-cover- 
ing. Their  laps  are  greater,  and  the  manner  in  which 
they    are    placed    gives    a    decided    advantage    in    warmth. 

In  speaking  especially  of  shingles  in  this  way,  nothing 
could  be  farther  from  the  thought  than  to  give  this  mate- 
rial undue  artistic  value.  It  has  great  value  when  prop- 
erly situated,  but  is  merely  one  of  many  mediums  —  brick, 
stone,  terra-cotta,  clapboards,  cement.  Beautiful  houses  are 
constructed  in  all  these   materials. 


z     e 

I    s 


MATERIALS      AND      DETAILS.  —  Continued. 
CHAPTER     XXII. 

FIREPLACES      AND       MANTELS.  HISTORY.  MANTELS       OF       THE      RENAISSANCE.  

1  HI  CH     MANTELS.  MODERN    MANTELS.  CHARACTER      IN      MANTELS.  TILE 

FACINGS.  —  ONYX     AND     BRICK. 

NO  doubt  the  first  fireplaces  were  for  cooking.  Cer- 
tain it  is  that  those  which  first  took  the  form  closely 
approximating  those  now  in  use  were  used  for  that  pur- 
pose. During  the  twelfth  and  thirteenth  centuries  in 
France  there  were  many  kitchens  of  the  form  indicated 
by  Fig.  190.  This  was  the  great  kitchen  of  the  Abbey 
of  Fontervault.  Drawings  of  many  others  of  these  early 
kitchens  exist,  but  this  one  is  a  typical  illustration. 
Many  were  more  complicated  in  plan,  but  the  general 
idea  of  all  was  the  same.  There  was  the  building- 
of  circular  form,  with  niches  forming  fireplaces  around 
the  wall,  and  the  ventilating  duct  over  the  centre. 
During  the  fourteenth  century  quite  a  change  was 
made  in  the  kitchen.  It  became  a  part  of  the  gen- 
eral structure,  and  the  fireplaces  were  nearer  the  form 
shown  in  Fig.  191.  As  seen,  it  is  constructed  of 
stone,  with  details  of  an  interesting  character.  The  pro- 
jecting mantel  is  high  enough  to  permit  one  to  walk 
under  it.  At  the  rear,  and  suspended  over  the  fire, 
are     iron     hooks,     from     which     cooking     utensils     can     be 


254 


BEA  UTIFl  L    HO  USES. 


suspended.     This    fireplace    is    from    the    Abbey    of   Blanche 
de    Mortain. 

The  great  rooms  and  halls  of  this  time  were  heated  by 
large  fireplaces.  Fig.  192  gives  a  double  fireplace,  from 
the  great  room  of  the  Chateau  of  Courcy.  It  is  splendidly 
sculptured,  and  no  doubt  formed  a  part  of  a  superb  pict- 
ure. Great  fireplaces  of 
this  kind  were  by  no 
means  rare.  They  a  r  e 
found  in  the  Chateau  of 
Pierrefonds  and  elsewhere. 
Some  of  them  are  spoken 
of  as  being  long  enough 
to  receive  logs  seven  or 
eight  feet  long.  In  the 
end  of  the  great  room 
at  Poitiers  there  is  a 
triple  fireplace.  It  is  mag- 
nificent in  detail,  and,  with 
the  great  windows  above 
it,  forms  one  of  the  most 
interesting  subjects  of  its 
kind. 

The  modern  fireplaces 
of  Brittany  and  Normandy 
are  of  the  same  type  as 
that  shown  on  page  58.  To-day  all  of  the  cooking, 
unless  it  be  the  bread-baking,  is  done  in  these  fireplaces. 
In  this  respect  that  part  of  the  world  has  not  moved 
since    the    fourteenth    century. 

Many  of  the   most    beautiful    fireplaces  of  the    fourteenth, 


Fig.    190.  —  A   Thirteenth-Century    Kitchen. 
(From  Viollet-le-Duc's  '-Diet,   de  ['Architecture.") 


MATERIALS    AND    DETAILS. 


2SS 


fifteenth,  and  sixteenth  centuries  were  in  the  palaces 
and  chateaux  of  France.  There  is  room  only  to  give 
views  of  one  from  Pierrefonds  (Fig.  193),  one  from 
Blois  (Fig.  194),  and  one  from  Cluny  (Fig.  195").  Two 
from  Holland  are  also  given  (Figs.  196  and  197).  That 
from  Pierrefonds  was  of  the  early  fifteenth  century; 
those  from  Blois  and  Cluny  of  the  sixteenth  century. 
There  can  be  nothing  more  interesting  than  these  mag- 
nificent structures  of  the  Gothic  and  early  Renaissance 
periods.  There  are  suggestions  in  all  of  them  for  our 
every-day  use.  The  principal  part  of  the  construction 
of  those  already  given  is  of  stone.  Many,  however,  have 
only  the  lower 
pilasters  of  stone, 
while  the  upper 
part  is  of  wood 
and  plaster.  This 
indicates  clearl}- 
enough  that  we 
may  be  able  to  do 
something  in 
plaster  in  some  of 
the  forms  indicated, 
and  thus  adapt  them 
to  our  own  imme- 
diate uses.  While 
there  would  have 
to  be  some  changes 
in  modernizing  the 
fi replace,    these 

,  +"11        c  F|G'    I91-— An    Early    French    Fireplace. 

mantelS     are     Illll     Ol  (From  viollet-le-Duc's  "Diet,  de  ['Architecture.") 


256 


BEAUTIFUL    HOUSES. 


suggestions,  and  can  be  readily  adapted  to  our  own 
time.  On  page  47  is  given  a  mantel  the  outline  of 
which  was  taken  from  a  Dutch  example.  The  details, 
however,  are  taken  from  French  work,  and  a  mantel  alto- 
gether serviceable  in  arrangement  and  picturesque  in  outline 
is    secured.       Fig.    198    is     a    suggestion    for    a    hall    mantel. 

Some  of  the  for- 
eign examples  we 
could  not  expect 
to  duplicate  it 
we  so  willed.  We 
could  hardly  ex- 
pect to  find  a 
sculptor  so  trained 
as  to  be  able  to 
execute  those 
selected  from  the 
Francis  I.  part  of 
the  Chateau  of 
Blois  or  the  one 
from  Aurav.  The 
latter  is  now  in 
the  Cluny  Museum 
in  Paris.  They  are  great  products  of  a  great  time, 
and  while  many  are  to  be  found  in  France  belonging 
to    this    period,  those    given    serve    as    typical    examples. 

The  Dutch  mantels  are  selected  from  examples  in  the 
National  Museum  at  Amsterdam.  They  were  removed 
from  old  Dutch  houses,  and,  together  with  their  surround- 
ings, were  placed  in  this  great  museum.  They  belong 
to    the  seventeenth   century.     These   particular  examples  are 


Fig.    192.  —  ChXteau   of   Courcy 
(From  VioIlet-le-Duc's  "  Diet,  de  l'Architecture.") 


Fig.    194.— Fireplace,   Chateau    at   Blois. 


Fig.    195.  —  Fireplace   in   Cluny    Museum. 
(From   Auray.) 


MATERIALS    AND    DETAILS. 


263 


interesting  and  valuable  to  us,  because  they  are  capable 
of  being  readily  adapted  to  our  own  houses,  and  may  be 
easily   executed   by   our  own    mechanics.      The    lower   parts 


Fig.    196.  —  Fireplace   in    Museum    at  Amsterdam. 


are  of  tile;  the  decoration  at  the  sides  of  wood  ;  most 
the  upper  part  of  plaster,  with  wood  for  decoration. 
The  mouldings  belong  to  the  Roman  type,  though  they 
were  interpreted  by  the  Dutch  artists  of  the  sixteenth 
and    seventeenth    centuries.     Naturally    the    decorative    work 


264  BEAUTIFUL    HOUSES. 

as  a  whole  partakes  of  the  character  of  the  time  and 
place.  These  early  Dutch  mantels  are  particularly  valu- 
able to  us,  because  they  so  readily  lend  themselves  to 
present    uses. 

In  the  end  of  the  dining-room  described  in  chapter 
sixteen,  the  recess  effect  is  secured  in  the  manner  shown 
by  the  plan.  Practically  it  amounts  to  studding  off  one 
end  of  the  room  to  the  extent  shown.  The  girder  comes 
far  enough  down  from  the  ceiling  to  admit  of  its  being 
cased,  and  to  provide  space  for  china  decoration  imme- 
diately above  it,  after  the  manner  indicated  by  the  drawing. 
All  of  this  room  is  wainscoted  to  the  height  of  five 
feet  with  a  perfectly  plain  surface  of  oak  veneer.  There 
are  no  panels,  recesses,  or  decorations  of  any  kind,  excepting 
one  moulding  at  the  bottom  and  two  at  the  top,  one  of 
the  latter  being  about  eight  inches  below  the  other.  The 
entire  wainscoting  merely  shows  the  grain  of  the  wood. 
This  wainscoting  goes  around  the  recess  which  is  formed 
for  the  mantel.  The  lower  member  of  the  moulding 
referred  to  is  on  the  level  of  the  shelf,  and  the  upper 
member  is  the  top  of  the  back  of  the  mantel.  Above 
this  will  be  placed  a  picture  flush  on  the  chimney 
breast,  painted  by  a  capable  artist  especially  for  this  place. 
The  grazing  of  the  windows  on  each  side  of  the  mantel 
is  of  simple  forms  of  leaded  glass,  of  the  general  char- 
acter described  in  chapter  twenty-eight.  The  tile  work 
of  the  mantel  is  gray  in  color,  an  inch  in  width  and  four 
inches  in  length.  All  are  unglazed,  and  the  same  form 
and  color  are  used  for  the  lining  and  the  hearth.  A 
narrow  brass  strip  not  greater  in  diameter  than  a  lead 
pencil    surrounds    the    grate    opening. 


Fig.    i97.  —  Fireplace    in    Museum  at  Amsterdam. 


MATERIALS    AND    DETAILS. 


267 


Other  mantels  are  shown  in  this  book.  For  the  most 
part  they  are  relatively  simple  in  character,  but  not  always 
because  there  was  particular  occasion  for  being  careful  in 
the  use  of  money.  Many  of  us  are  used  to  seeing  mantels 
which  are  monumental  and  gross,  the  artistic  value  of 
which  is  largely  estimated  by  their  cost.  Thev  dominate 
everything  in  the  room.  If  this  were  because  of  their 
beauty  it  would  not  be  so  bad,  though  even  then  it 
would  not  be  justifiable.  It  is  well  to  bear  in  mind  that 
a    mantel    is    an    inherent    part   of    the    room  which   it   is    in. 

As     few      rooms     in     American      

homes  are  sumptuous  and  rich, 
there  is  no  reason  why  the 
mantels   should  be  monumental. 

The  style  of  finish,  the 
mouldings,  the  decorations  and 
general  character,  should  be 
the  same  as  shown  in  the 
other  parts  of  the  room. 
There  should  be  the  definite 
relation  between  the  mantel 
and  the  other  part  of  the 
finish  that  there  is  between  the  different  parts  of  a  picture. 
It  is  not  possible  to  have  designs  made  for  the  finish  of 
a  house  by  the  architect,  and  then  buv  a  mantel  which 
will  be  in  character  with  the  general  design.  The  architect 
should  design  the  mantel;  otherwise  the  room  is  a  hodsfe- 
podge  —  a  bit  of  patchwork  —  a  failure.  The  amount  of  this 
sort  of  thing  which  has  been  done  is  astonishing.  Really 
intelligent  people  have  plans  made  for  a  house,  often 
costing  a  large  sum  of  money,  and    then    buv  their  mantels 


Fig.    198. —  A   Hall  Mantel 


268 


BE  A  UTIFUL    HO  USES. 


from    stock    designs.      The    result    is    before    us    in     a     large 
number    of  the    houses    which    we    see. 

While  the  o-eneral  character  of  the  finish  should  in  a 
measure  influence  the  design  of  the  mantel,  there  may  be 
the    same    kind    of    finish    in    the    different    rooms,    and     yet 

a  certain  variety 
in  the  form  of 
the  mantels 
themselves. 
For  e  x  a  ra  pie, 
in  the  p  a  r  1  o  r 
t  h  e  r  e  may  be 
a  mantel  with 
a  m  i  r  r  o  r  ;  i  n 
the  library,  one 
without  a  mir- 
ror ;  in  the 
sitting-room, 
o  n  e  w  i  t  h  a 
broad  e  x  p  a  n  s  e 
of  tiling;  and  in 
the  dinin  g-r o  o  m 
an  extra  amount 
of  shelving  and  devices  for  the  display  of  china  :  yet 
the  character  of  the  mouldings,  the  general  spirit  of 
the  design,  may  be  in  harmony  with  the  details  of  the 
other  finish,  the  casings,  doors,  windows,  etc.  While 
there  is  variety  in  general  form  and  outline,  it  does  not 
necessarily  imply  that  there  should  be  a  particular  kind 
of  mantel  for  parlors,  another  for  a  library,  or  that  there 
are     mantels    which     are     fitted    only    to     a     reception     hall. 


Fig.    199.  —  In   thk    Reception    Rooa\. 


MATERIALS    AND    DETAILS.  269 

However,  there  may  be  such  variety  without  keeping 
within    prescribed    lines. 

The  parlor  is  naturally  more  formal  than  the  sitting- 
room  or  library.  It  is  to  be  expected  that  a  parlor 
mantel  should  be  in  character  with  such  a  room.  It 
should  be  dignified,  relatively  simple  in  outline,  though 
it  may  be  rich  in  detail.  One  is  generally  disposed  to 
indulge  one's  fancies  somewhat  more  in  a  mantel  for  a 
library  or  sitting-room.  Still,  it  is  well  to  have  it  in 
mind  that  such  a  design  should  not  be  so  strange  or 
unusual  in  character  as  to  be  unrestful.  It  is  something 
to  be  lived  with,  and  we  frequently  see  such  designs 
tending  towards  severity  or  extreme  simplicity.  This  is 
better  than  designs  which  are  liable  from  their  com- 
plexity to  become  wearisome  when  they  are  every-day 
companions.  Naturally  a  bedroom  mantel  should  be  simple 
in  outline  and  very  refined  in  detail.  One  should  be  quite 
conservative  in  designing  mantels  for  sleeping-rooms.  The 
very  tall  mantel-shelf  is  a  pretty  form  for  a  reception 
room.  In  this  connection  illustrations  are  given  which 
indicate  the  design  and  the  general  proportion,  though 
naturally  they  cannot  be  expected  to  show  the  coloring, 
or  even  the  care  with  which  the  details  of  construction 
have    been    developed. 

When  the  wood  mantel  came  prominently  into  use  a 
few  years  ago,  there  was  usually  a  very  large  margin 
of  wood  and  a  very  small  quantity  of  tile  around  the 
frame.  Excessive  tiring  of  the  grate,  and  the  unusual 
strain  to  which  wood  is  naturally  subjected  when  used 
in  a  mantel,  led  to  an  increase  in  the  amount  of  tile 
used    and    a    decrease    in    the    amount    of    wood;    so    that    it 


270  BEAUTIFUL    HOUSES. 

is  now  quite  common  to  have  only  a  narrow  margin  on 
the  outside,  the  shelf  above,  with  a  small  amount  of 
wood  surface  above  and  below  the  shelf.  In  other 
instances  we  find  mantels  which  are  made  entirely  of 
tile,  even  to  the  shelf,  and  yet  others  of  terra-cotta  and 
brick.  There  is  often,  however,  a  heaviness  in  a  brick 
mantel  which  is  not  altogether  satisfactory.  .V  very  small 
number  of  the  manufacturers  of  brick  for  such  uses  have 
sufficiently  refined  the  details  thereof  to  make  them  satis- 
factory for  use  in  the  rooms  of  an  ordinary  American 
dwelling.  It  is  true,  however,  that  many  brick  mantels 
are  used.  It  is  also  true  that  many  coarse  and  wrong 
things  are  clone  every  day  in  house-building.  While  I 
do  not  absolutely  condemn  brick  mantels,  it  is  ordi- 
narily true  that  they  are  too  ponderous  and  heavy  for 
the  rooms  in  which  they  are  placed.  This  is  par- 
ticularly true  of  red  brick  mantels.  Bricks  of  other 
colors  are  now  made  which  are  more  satisfactory  for 
such  uses.  They  are  frequently  very  interesting  in  them- 
selves, but  when  taken  as  a  part  of  the  room  they  lose 
their    artistic    value. 

Enamelled  tiles  are  the  most  satisfactory  for  mantel 
facino-s.  One  can  get  almost  any  color  one  chooses.  The 
material  is  non-absorbent,  practically  indestructible,  and  in 
no  way  suffers  from  ill-use.  Enamelled  tiles  preserve 
their  original  color,  form,  and  texture  against  all  ordinary 
wear.  They  are  relatively  inexpensive,  and  there  is  no 
material    of  greater    artistic    value, 

One  is  able  to  get  these  tiles  with  beautifully  decorated 
surfaces,  though  unless  selected  by  an  artist  of  unques- 
tioned   ability    it    is   best    to   choose   simple    coloring   without 


MATERIALS    AND    DETAILS.  271 

any    attempt    at   decorated    surfaces.      It   is   best    to   have    not 
more    than    one    color    for    the    mantel-facing    and    hearth. 

Glazed  tiles  are  not  nearly  so  interesting  as  the 
enamelled  tile.  There  is  a  flatness  in  their  coloring  and  a 
general  commonness  in  their  appearance  which  render 
them    unsatisfactory. 

Unglazed  tiles  are  very  beautiful,  and  but  for  the 
difficulty  of  keeping  them  clean  they  would  be  recom- 
mended without  question  for  their  artistic  value.  The 
darker  unglazed  tile  may  be  successfully  used,  but  the 
white,    blue,    and    the    light    grays    suffer    greatly    from    use. 

Mosaic  designs  especially  require  the  guidance  of  the 
artist  in  the  composition  and  use.  The  mere  name 
mosaic,  and  the  mere  use  of  small  pieces  of  tile  as  a 
novelty,  is  liable  to  lead  many  people  to  use  them  for 
mantel    decoration. 

Onyx  facings  and  those  of  other  special  materials  are 
obtainable.  It  may  be  said  in  general  terms  that  many 
of  these  materials  first  came  into  prominence  because  of 
their  cost.  One  is  liable  to  be  led  in  the  direction  of 
the  unusual  by  something  of  this  kind.  Onyx,  marble, 
iron,  or  other  materials  may  be  successfully  used.  More 
often  than  otherwise,  however,  these  materials  are  selected 
independent  of  their  relation  to  the  mantel  or  the  other 
parts    of   the    room. 

There  should  be  a  definite  relation  between  the  color 
of  the  mantel-facing  and  hearth  and  the  color-scheme 
of  the  room  itself.  However,  in  ordinary  house-building 
this  is  rarely  considered.  Mantel  colorings  are  selected 
without  regard  to  the  decorative  material  or  the  deco- 
rative idea    of  the    room    itself.     Before    making   a    selection 


272  BEAUTIFUL    HOUSES. 

of  mantel-facings  of  any  material,  there  should  first 
be  an  understanding  as  to  the  color-scheme  of  the 
room.  It  is  necessary  that  this  should  be  quite  exact, 
otherwise  a  slight  difference  in  shading  would  disturb 
the  harmony  of  the  arrangement.  When  we  think  that 
the  mantel  is  nearly  always  selected  without  regard  to 
the  other  woodwork  of  the  room,  and  that  the  tiling  or 
other  material  used  for  the  facing  is  selected  entirely 
without  regard  to  the  decorative  plan,  we  can  readily 
understand  that  nearly  all  rooms  are  failures  from  an 
artistic    standpoint. 

It  is  the  practice  of  the  writer  to  use  very  little 
mantel  trimming  around  the  fireplace  opening.  Often  it 
is  simply  a  very  narrow  metallic  band.  A  lireplace- 
lining  may  be  of  tiling,  cast-iron,  or  brick.  The  former 
is  the  most  interesting  and  the  most  expensive.  Cast-iron 
linings  are  now  made  from  very  artistic  patterns.  Fire 
brick  take  to  themselves  the  beautiful  coloring  which 
comes  from  use.  There  has  been  great  difficulty  during 
former  years  in  getting  a  tile  lining  which  will  stand 
great  heat  and  hard  usage.  However,  they  are  now 
made  with  a  dovetailed  back,  which,  when  properly 
connected  with  the  backing,  makes  a  permanent  and 
satisfactory    lining. 

The  different  forms  of  openings,  grates,  rire-logs,  and 
irons  are  legion.  All  these  things  are  now  made  in  very 
artistic  forms.  Their  successful  use  lies  in  the  ability  to 
make    a    proper    selection. 


MATERIALS    AND    DETAILS. 


Continued. 


CHAPTER    XXIII. 


DOORS.  THE     DEFENSIVE.  HOSPITALITY.  —   MATERIAL. 

DOMESTIC    DOORS. 


FOREIGN    EXAMPLES. 


J       c^ 


[JilL-lM 

1 

iyjj 

ONCE  upon  a  time  doors  were  a  very  serious  feature 
of  all  structures.  This  was  true  during  the  Middle 
Ages,  when  it  was  expected  that  a  door  would  be  a  point 
of  attack.  Then  it  was  not  a  question  as  to  the  hospitable 
appearance  of  the 
door.  The  senti- 
ment was  alto- 
gether different. 
The  question  was 
as  to  whether  one 
would  feel  safe  if 
one  were  behind 
the  door.  The 
owner  of  the  great 
chateau  felt  that 
he  was  protecting 
his  guest  and  conveying  to  him  a  sense  of  security  if 
he  were  able  to  pass  through  a  door  that  was  large 
and  substantial  as  well  as  decorative.  It  was  a  pecu- 
liarity of  the  feudal  times  that  in  no  structure,  however 
serious     its     character,     was     the     artistic     neglected.       AVe 

273 


Fig.  20c. 

(From  VioIlet-le-Duc's  "Diet,  de  ['Architecture."; 


274 


BEAUTIFUL    HOUSES. 


still    find    as    remainders    of    that    time    doors    massive    and 
beautiful. 

If  the  doors  of  to-day  express  anything-,  it  is  hospitality. 
The  idea  of  great  strength  has  no  part  in  the  sentiment  of 
a    modern     door.     If  one     were     to     consider    the    entrance 

door  to   a  modern    house    ideally,   the 

J 

thought  would  suggest  itself  that  it 
should  reflect  the  general  character 
of  the  occupants.  In  fact,  however, 
this  is  not  often  the  case.  We 
find  doors  loaded  with  very  common 
detail  and  fitted  with  glass  often 
too  brilliant  and  inharmonious  in 
color.  We  may  find  very  clever 
people,  with  good  manners  and  great 
dignity,  behind  very  crude  and  pre- 
tentious doors.  Nevertheless,  when 
one  of  good  taste  and  natural  knowl- 
edge builds  a  house,  we  do  not 
find  anything  of  this  kind  in  cross- 
ing his  threshold.  There  is  an 
expression  of  quiet  taste,  good  man- 
ners, and  hospitality  in  the  door.  We 
recognize  at  once  that  it  is  substantial,  that  it  will  keep  its 
place  for  many  years,  and  that  in  its  mouldings  and  other 
decorative  details  there  are  the  marks  of  the  hand  of  an 
artist.  We  naturally  enter  such  a  house  prepossessed 
favorably. 

Many  doors  have  their  wood  surfaces  entirely  cut  up 
and  covered  with  what  is  supposed  to  be  ornament.  It 
costs  money,  and  the   owners  are  told  that  it  is  a  new  thing 


(From  Viollet-le-Duc's  "Diet,  de  l'Ar- 
clntccture.") 


MATERIALS    AXD    DETAILS. 


275 


in  the  way  of  doors,  as  much  as  to  say  that  it  is  the  style 
this  year.  For  instance,  the  builder  asks  an  architect: 
"  What  kind  of  wood  do  you  think  will  be  used  for  doors 
and  finish  next  year?  I  am  going  to  buy  some  lumber, 
and  I  do  not  wish  to  be  out  of  the  style."  Without  ex- 
pressing all  that  is  in  his  mind,  the  architect  tells  him 
that  he  thinks  quartered  oak  will  be  good  material  to 
buy.  r  I  am  afraid  not,"  is  the  reply;  "I  have  used  a 
good  deal  of  oak  during  the  last  two  years,  and  I  am  quite 
certain  that  it  will  not  be  used  next  year.''  When  one 
bears  in  mind  the  many 
hundreds  of  years  that 
this  material  has  been  in 
use  and  the  o-reat  work 
which  the  artists  of  all 
centuries  have  done  in 
it,  one  realizes  that  there 
can  be  no  such  thing  as 
fashion  in  a  material  of 
this  kind.  One  often  sees 
painted  poplar  and  pine 
entrance-doors  quite  cov- 
ered with  expensive  mill- 
work,  all  of  which  is 
as  ugly  as  it  is  possible 
for  ignorant  labor  to 
make  it.  How  much 
better  it  would  be  to 
use  absolutely  plain  hard- 
wood doors,  nicely  fin- 
ished,    lather      tnail      these  (From  Viollet-le-Duc's  "  Diet,  de  l'Architecture.") 


276 


BEAUTIFUL    HOUSES. 


expensive,    inartistic     productions    of    the     more     pretentious 
kind. 

The  general  principles  which  apply  to  the  designing  of 
entrance  doors  can  be  applied  to  those  of  the  interior. 
Primarily,  it  is  well  to  remember  that  the  grain  of  the 
wood    is    apt    to    be   more    beautiful    than    anything   we    can 

add  to  it,  and  the  forms  which  we 
may  add,  if  they  be  not  skilfully  con- 
sidered, detract  from  the  interest  of 
the    natural    surfaces. 

Fiers.  200  and  201  indicate  what 
may  be  done  to  add  to  the  beauty 
of  the  natural  surfaces  in  handling 
the  wood.  There  is  nothing  par- 
ticularly interesting  in  the  panel 
forms  themselves,  but  the  way  in 
which  they  are  cut  adds  to  the 
variety  and  interest  of  the  natural 
surface  of  the  wood.  This  is  true 
also  of  Fig.  202,  which  is  somewhat 
more  elaborate  in  detail  than  the 
others,  but  probably  has  no  more 
artistic  value  than  they,  though  the  different  forms  given 
to    the    exposed    surfaces    add    to    their    interest. 

Fig.  20}  indicates  a  doorway  which  depends  almost 
altogether  on  the  breadth  and  richness  of  the  wood  sur- 
faces for  the  interest  which  it  presents.  It  requires  par- 
ticular skill  and  special  knowledge  to  construct  a  door  of 
this  character.  The  panels  are  flush,  and  the  variety 
of  surface  is  secured  entirely  from  the  character  of  the 
veneers  which  are  attached  to  the  structural  parts.      The  iron 


Fig. 


A    Front    Door. 


MATERIALS    AND    DETAILS. 


277 


Fig.    204. 


grille    which     is     fastened    on     the     outside     of     this     door- 
wax-   is  whollv  decorative   in  character.     We  cannot  imagine 
that  the  protective  influence  of  such  a  piece  of  construction 
would     be    either      necessary     or     effective. 
It   has,    however,   quite    a    decorative    value 
in    this    instance. 

The  door  in  Fig.  204  has  a  single 
large  panel,  with  a  small  glass  panel 
placed  in  the  upper  section.  The  rails 
and  wood-surfaces  of  this  door  are  quite 
broad,  though  the  details  are  more  compli- 
cated than  those  ot  Fig.  203.  The  former 
is  more  satisfactory.  However,  the  latter 
is  in  character  with  the  other  finish  of 
the  house,  and  satisfactory  in  its  relation 
to    the    other    parts. 

Fig.  205  is  another  of  the  plain-surfaced  doors.  The 
hinge-plates  on  Fig.  206  are  solely  decorative  in  char- 
acter, having  absolutely  no  constructive 
value.  They  add  nothing  to  the  strength 
of  the  door,  though  it  must  be  confessed 
that    they    add    decoratiye    interest. 

The  door  in  Fig.  207  comes  from  the 
very  interesting  city  of  Saint  Malo,  in 
AVestern  France.  It  was  executed  in  the 
seventeenth  century.  It  is  quite  compli- 
cated in  design,  yet,  being  the  work  of 
a  true  artist,  it  is  a  great  success.  He, 
no  doubt,  studied  this  door  in  the  same 
serious,  painstaking  spirit,  and  with  the 
fig.  205.  same      measure     of     enthusiasm,     which      is 


278 


BEAUTIFUL    HOUSES. 


Fig.   206. 


common  to  one  of  our  great  painters  to-day.  It  is  such 
a  spirit  in  our  architects  which  will  develop  a  better 
architecture    for    us. 

In      presenting     designs     for     doors    in      this     way,     one 
cannot     feel     that     he     is    doing     his     full     duty     unless     he 

impresses  upon 

the    reader  the 

idea     that    he 

cannot   select 

from    such   de- 
signs    in     the 

same  spirit  that 

a     lady     would 

make    a  choice 

from   a   pattern 

book.  These 
doors  have  their  proper  place 
only  when  properly  used  — 
with  their  right  surroundings. 
They  are  selected  from  actual 
examples,  and  are  referred  to 
here  as  a  means  of  demon- 
strating what  has  been  done. 
The  door  shown  in  Fig. 
208  is  decorated  with  nail- 
heads.       These     nail-heads    are 

now  made  in  iron  and  bronze,  after  good  foreign  models. 
It  is  proper  to  say  in  this  connection,  as  has  been 
done  before,  that  the  nails  are  not  necessary  to  the 
construction  of  the  door,  and  from  certain  artistic  standards 
it     is     questionable     whether     they     could     be     used     in    this 


Fig.    207.  —  A    Brittany    Door. 
(From  "  La  Vieille,  France,"  A.  Robida.) 


MATERIALS    AXD    DETAILS. 


279 


way.  However,  if  we  were  to  eliminate  all  that  was 
not  structural  and  depend  entirely  upon  our  deeorative 
construction,  we  should  at  least  find  ourselves  very  severe 
critics. 

The  inside  doors  given  without  special  reference  are 
those  which  ma}'  be  used  in  a  house  of  the  highest  or 
the  lowest  cost.  They  could  be  of  pine,  poplar,  quartered 
oak,  bird's-eye  maple,  birch,  mahogany,  or  other  kinds 
of  wood.  A  great  deal  is  lost  in 
interior  finish  by  the  use  of  elaborate 
detail.  Not  many  years  ago  it  was 
often  thought  necessary  to  add  to 
the  complexity  of  a  door-casing  in 
proportion  to  the  amount  of  money 
which  an  owner  wished  to  invest 
in  the  building.  If  he  were  a  very 
wealthy  man,  and  were  building  a 
very  pretentious  house,  the  door- 
casings  expressed  his  ambition.  They 
were  ten  or  twelve  inches  in  width, 
and  composed  of  many  mouldings. 
While  the  tendency  is  away  from 
this  sort  ot  thing,  we  have  not  fully 
realized  that  relatively  plain  casings 
have   a   much  greater   decorative   and 

artistic  value  than  those  which  are  so  covered  with 
mouldings  as  to  obliterate  all  plain  surfaces  and  the 
natural  beauty  of  the  material  used.  It  is  well  to  bear 
in  mind  that  the  work  of  the  architect  and  decorator  should 
go  together.  In  truth,  under  ideal  conditions,  the  archi- 
tect   should    control    all    decorative    work.       This    beino-  true, 


Fig.    208.  —  Decorated    with 
Nail-Heads. 


28o 


BEAUTIFUL    HOUSES. 


the  woodwork  should  not  overshadow  all  other  interests. 
There  may  be  a  variety  without  grossness,  and  yet  in 
harmony  with  the  decorative  spirit  oi  the  interior.  The 
doors,  windows,  the  woodwork  which  surrounds  them, 
and    the    mantel    are    merely    parts  of  a  decorative    scheme. 


Fig.    209. 


They  should  be  in  harmony  with  it.  The  decorative  idea 
and  the  character  of  the  woodwork  should  go  hand  in 
hand.  The  examples  which  are  given  convey  the  intended 
impression  quite  as  clearly  without  additional  matter  as 
they  would  with  it.  It  may  only  be  necessary  to  repeat 
again,    for    the    sake    of  emphasis,    that    one    cannot    open    a 


MATERIALS    AXD    DETAILS. 


281 


book    and    select    patterns    and    designs    for    finish    or    other 
detail    and    expect  to    produce  a  successful   interior.      There 


Fig.   210. 


Fig. 


Fig. 


Fig.  213. 


must    first    be    a  general    idea    as    to    what    is    intended,    and 
then    the   details    must    lit    the    plan. 


Fig.    214. 


MATERIALS     AND     DETAILS.  —  Continued. 
CHAPTER  XXIV. 

STAIRS.  FOREIGN    EXAMPLES.  BRITTANY.  FRANCE.  HOLLAND.  GERMANY. 

BROAD    LANDINGS.  OLD    COLONIAL    STAIRWAYS.  IRON    RAILINGS. 

THE  decorative  motives  in  architecture  are  derived  from 
the  useful.  There  are  few  practical  features  of  a 
house  which  can  be  rendered  more  interesting  than  a  stair- 
way. Yet  if  one  without  previous  knowledge  were  select- 
ing a  motive  for  decoration,  one  would  hardly  take  the  form 
of  a  stairway-  We  take  a  form  developed  by  necessity, 
decorate  it,  and  if  the  work  be  properly  done  we  say  that 
it  is  artistic  ;  all  depends  upon  the  decorative  handling.  I 
have  seen  beautifully  carved  ladders  in  Brittany,  where 
they  frequently  do  service  as  a  stairway.  In  that  country 
we  find  a  people  poor  in  this  world's  goods,  yet  rich  in 
artistic  surroundings.  There  are  only  two  things  needful  to 
artistic  production  —  artistic  appreciation  and  the  artists. 
We,  with  all  our  wealth,  rarely  reach  the  artistic  ;  on  the 
other  hand,  we  see  others  attaining  it  without  the  wealth. 
We  need  artistic  guidance. 

When  we  see  what  the  rest  of  the  world  has  done,  we 
find  ourselves  less  timid  in  making  departures  from  the 
beaten  path.  I  have  made  a  number  of  selections  of  stair- 
ways from  foreign  examples.  It  is  not  expected  that  with 
any  other  number  of  examples  before  us    we   should    imme- 


282 


MATERIALS    AND    DETAILS. 


283 


diately  go  and  do  likewise.  It  is  by  the  contemplation  of 
what  others  have  done  that  we  are  led  to  make  depart- 
ures from  a  well-worn  path.  The  trouble  with  many  of 
the  stairways  in  our  houses  is  not  in  their  plan  of  arrange- 
ment, for  in  this  many  are  picturesque  and  quite  pretentious. 
It  is  merely  a  question  of  the 
refinement  of  the  detail,  the 
careful  study  of  the  parts  in- 
tended to  be  decorative.  The 
plans  of  stairways  in  general 
are  picturesque  enough,  and 
there  is  enough  labor  and 
material  used  in  their  con- 
struction to  make  them  beautiful, 
if  the  labor  were  only  properly 
guided  into   artistic    lines. 

In  man)'  of  the  structures  of 
the  Old  World  the  stairways 
are  built  in  towers  which  ex- 
tend into  the  main  court  around 
which  the  building  is  con- 
structed. This  is  true  of  many 
of  the  military  and  civil  struct- 
ures previous  to  the  fourteenth 
and  fifteenth  centuries.  While 
m  a  ny  m  o  n  u  m  e  n  ta  1  stair  w  a  y  s 
were  built  during  this  period, 
the    very    large     majority     were 

simpler  in  character.  They  were  usually  of  stone  and 
wound  around  the  central  pillar.  There  are  several  stairs 
of  this    kind    in    the    house    of    Jacques    Coeur     at     Bourges. 


Fig.    215.  —  A    Brittany    Stairway. 
From  "  La  Vieille  France,"  A.  Rohida.) 


284 


BRA  UTIFUL    HO  USES. 


One  enters  the  courtyard  and  then  passes  into  one  of 
the  several  stairways  depending  upon  the  section  which 
one  wishes  to  enter.  Instead  of  communicating  with  the 
different  parts  of  the  structure  from  halls  and  corridors, 
they  are  connected  with  the  court  on  the  ground,  by  as 
many  stairways  as  are*  necessary  to  afford  independent 
connection  with  the  various  apartments.  The  stairway 
towers  in  the  court  of  the  house  of 
Jacques  Cceur  are  quite  decorative,  being- 
picturesque  in  outline  and  rich  in  detail. 
It  is  only  in  the  sixteenth  century  that 
we  rind  stairways  broad,  liberal,  and 
sumptuous.  The  Chateau  of  Chambord 
has  a  magnificent  double  stairway  sur- 
rounded by  grand  corridors  which  lead 
to  the  magnificent  tower  which  is  the 
oreat  feature  of  this  wonderful  structure. 
This  stairway  is  so  arranged  that  two 
people  starting  upon  opposite  sides  may 
liM''^^'  have  each  other  always  in  view,  though 
H?  they  cannot  come  together  until  they 
W'  reach  the  main  floor.  They  wind  around 
over  or  under  one   another. 

But  the  examples  which  we  select 
arc  of  a  more  modest  character.  Thev 
do  not  belong  to  great  establishments  like  this  house  of 
facques  Cceur  at  Bourges,  or  the  great  chateau  built  by 
Francis    I.    at    Chambord. 

Fig  2 1  s  is  a  stairway  in  the  corner  of  a  hall  in  one 
of  the  quaint  structures  of  Morlaix  in  Brittany  This  stair- 
way  is   placed    back   of   the    front    tier  of    rooms,   and   winds 


fpfMff 

Fig.  216.  —  The    Landing. 
(Sketch   by   A.    Robida.) 


materials  and   details. 


285 


to  the  top  in  the  way  shown.  Galleries  lead  to  the  various 
rooms  of  the  structure.  The  great  hall  is  lighted  from 
above  by  skylights.  This  stairway  belongs  to  the  sixteenth 
century.  The  construction  is  in  oak,  and  many  parts  of  it 
are  literally  covered  with  decorative  sculpture.  That 
around  the  cabinet  on  the 
main  floor  is  particularly  rich. 
Every  square  inch  of  the 
main  column  which  carries 
the  stairway  is  covered  with 
decorative  work  from  the 
hands  of  true  artists.  Quaint 
little  figures,  diaper  work, 
decorative  columns,  canopies, 
and  other  features  cover  it 
from  top  to  bottom.  The 
details  are  all  fine  in  char- 
acter, though  there  is  always 
the  suggestion  of  quaintness 
a  n  d  almost  superabundant 
brilliancy  which  is  a  part  of 
the  art  of  Brittany.  In  gen- 
eral conception  and  detail  it 
is  a  distinct  art.  In  general 
form  it  may  be  not  unlike 
that  of  other  sections,  vet  in 
the      handling     of     its     detail 

there  is  an  originality  and  character  which  stamp  it  as 
belonging  to  this  people.  An  illustration  of  this  character 
is  particularly  valuable,  in  that  it  shows  the  opportunity 
of   new    and    individual    handling  of  ordinary    motives.      The 


Fig.   217.  —  At    Nantes. 
(Sketch   by   A.  Robida.) 


286  BEAUTIFUL    HOUSES. 

artistic  methods  of  Brittany  arc  quite  distinct  from  those 
of  other  sections  of  the  world,  but  structurally  and  prac- 
tically their  work  fulfils  the  same  general  conditions  as  that 
belonging    elsewhere. 

Fig.  216  shows  the  detail  of  the  upper  section  of  this 
stairway,  and  gives  a  better  idea  of  the  richness  and 
interesting    character    of  the    detail. 

If  one  could  see  the  costume  of  the  old  lad)'  who 
is  looking  over  the  rail,  in  all  its  color  and  artistic 
handling,  one  would  note  that  the  people  of  the  house 
are  not  inharmonious  with  the  artistic  character  of  their 
surroundings. 

Fig.    217    shows    the    landing    of    a    stairway    at    Nantes. 

A  German  stairway  is  shown  in  Fig.  218.  There  is 
an  originality  of  plan  and  general  arrangement  in  this  stair- 
way which  makes  it  particularly  interesting.  Obviously 
the  plan  is  made  to  serve  an  artistic  purpose.  One  can 
readily  understand  how  a  plan  of  this  general  character 
could  be  handled  in  a  very  picturesque  and  satisfactory 
manner    in    one    of  the    halls    of  our    own    time. 

The  stairways  mentioned,  as  well  as  the  one  in  Fig. 
219,  are  spiral.  This  arrangement  is  deservedly  not  pop- 
ular with  us.  While  in  the  instances  here  set  forth  they 
are  handled  in  a  beautiful  and  picturesque  manner,  it  is 
true  that  they  are  more  tiresome  of  ascent  and  generally 
more  inconvenient  than  the  square  stairways  with  landings, 
which  are  more  common  with  us.  However,  these  illus- 
trations are  given  to  indicate  the  decorative  impulse 
which  controlled  their  designing  and  execution.  The 
genius  and  artistic  instincts  which  designed  the  stairs 
we     have     pictured    would    not    be    discouraged    by    any    of 


Fig.  218. 
(From    Laechner's   "  Holzarchitectur."1 


Fig.  219.  —  In  the  Museum  at  Amsterdam. 


MATERIALS    AND    DETAILS.  291 

the  practical  problems  of  our  own  times.  The  practical 
side  of  a  problem  does  not  hamper  or  even  embarrass  the 
true    artist. 

In  the  American  homes  of  a  few  years  ago  the  front 
stairway  was  a  rather  prosaic  feature.  The  old  side-hall 
plan  gave  little  variety,  and  there  was  very  little  incentive 
for  serious  effort  in  decoration.  But  with  the  thought 
which  gave  the  halls  a  different  form,  our  people,  without 
recourse  to  foreign  examples,  saw  the  decorative  possi- 
bilities of  a  stairway.  We  have  them  in  man)-  forms, 
often  picturesque  in  outline,  though  rarely  line  or  artistic 
in  detail  ;  always  with  enough  labor  and  material  to  make 
them  beautiful,  but  rarely  so  applied  as  to  accomplish 
this  result.  We  seldom  see  a  really  beautiful  stairway. 
With  the  ambition  which  we  see  on  every  hand,  and 
with  our  beautiful  material,  it  needs  only  the  artist  to 
make    a    great    success    in    this    way. 

In  plans  shown  on  page  102,  the  stairs  are  at  the  end 
of  a  hall  with  wide  windows.  The  broad  landings  and 
picturesque  railings  are  between  the  light  and  the  one  who 
enters  the  hall  from  the  front.  It  is  expected  that  landings 
of  this  character  will  be  at  times  partially  filled  with 
palms    and    other    decorative    plants. 

If  forms  are  carefully  studied  with  reference  to  sim- 
plicity, or  if  the  panels  of  wood  are  not  disturbed  by 
crude  incisings  or  mouldings,  the  effect  can  never  be  bad. 
The  simpler  railings  and  features  shown  in  this  book 
depend  largely  upon  the  general  plan,  the  richness  of  the 
grain  of  the  wood,  and  other  available  qualities,  to  give 
them  interest.  Most  stairways  are  made  ugly  by  an 
ignorant    effort    to    make   them    interesting.      If  one    is   with- 


292  BEAUTIFUL    HOUSES. 

out     natural     good-taste     or     education     in     design,     industry 
and    ambition    count    for    nothing. 

The  Old  Colonial  stairways  were  nearly  always  beautiful. 
They  were  developed  in  a  careful,  slow,  conscientious 
way  by  men  well  acquainted  with  the  old  classic  forms. 
This  sort  of  knowledge  was  readily  conveyed,  for  the 
reason  that  it  is  easily  set  forth  in  text-books.  The  slow 
manner  in  which  building  was  done  during  Old  Colonial 
times  gave  opportunity  for  a  serious  preparation  and  study 
which  enabled  our  earlier  architects  to  do  the  most 
artistic    building    our    country    has    known. 

An  iron  stairway,  or  one  whose  railing  is  ot  decorative 
iron-work,  hardly  appears  in  place  in  a  modern  dwelling. 
Much  beautiful  decorative  iron-work  has  been  done  for 
the  commercial  structures  of  our  great  cities  ;  there  the 
character  of  the  requirement  is  so  manifest  and  the  gen- 
eral construction  ol  the  building  so  well  known  that 
iron  appears  altogether  pertinent.  But  in  a  modern 
dwelling,  with  draperies,  woodwork,  pictures,  furniture,  and 
other  decorative  material  of  a  similar  character,  iron-work, 
however  fine  and  delicate,  appears  out  of  place  as  the 
decorative    parts    of  a    stairway. 

One  finds  iron  and  bronze  properly  used  in  many  of 
the  great  chateaux  and  other  monumental  structures  of 
the  Middle  Ages,  but  there  the  surroundings  are  quite 
different,  and  stone,  iron,  and  other  materials  of  this 
general    character    quite    in    place. 


MATERIALS      AND      DETAILS.  —  Continued, 
CHAPTER     XXV. 

FURNITURE.  ARCHITECT'S       DESIGNS.  SIDEBOARDS.  BOOKCASES.  SEATS.  

LOUNGES.  SCREENS.  GRILLES. 

THERE  are  certain  furnishings  or  fittings  which  it  is 
properly  the  architect's  function  to  design.  We  have 
said  that  each  room  should  be  considered  as  a  whole, 
having  its  proper  relation  to  the  other  rooms  of  the 
house.  There  is  very  little  successful  collaboration  in 
painting  pictures.  It  is  not  to  be  expected  that  an 
architect  can  partially  design  a  room  to  be  finished  by 
some  one  else,  without  the  room  suffering.  Bearing  in 
mind  that  the  room  is  a  picture,  its  finishing  should  be 
controlled  and  directed  by  one  artist.  Of  course  he  may 
be  aided  by  other  artists,  carvers,  decorators,  workers  in 
stained  glass,  and  others.  It  is  not  always  necessary  that 
chairs,  tables,  or  portable  fittings  of  this  character  should 
be  designed  by  the  architect.  Much  good  work  is  now 
done  in  this  line,  and  chairs  and  tables  are  being  made 
which  rely  largely  on  the  natural  wood  and  natural  forms 
for  their  interest.  Work  of  this  kind  is  relatively  neutral 
in  character,  and  for  that  reason  is,  within  certain  limits, 
suited  to  any  location.  In  the  case  of  upholstered  furni- 
ture it  is  largely  a  question  of  the  selection  of  color  and 
pattern.      Furniture   which   shows   nothing  but  the  Lipholster- 

293 


294 


BEAUTIFUL    HOUSES. 


ing  is  nearly  always  interesting  in  form  because  it  is 
natural.  Architects  very  seldom  design  this  class  of  furni- 
ture, though  it  is  sometimes  done.  In  matters  of  color 
the  artist  should  always  be  consulted.  During  the  Middle 
Ages  the  architect  was  responsible  for  everything  which 
went  into  a  building.  All  of  the  fittings,  furnishings,  and 
even    the     hangings    and     embroideries     on    the    walls     were 

I  designed  by  him.  There 
is  no  more  harmonious 
work  than  that  of  that 
time. 

There  are,  however, 
certain  fittings  which 
properly  belong  to  the 
architect  to  design: 
sideboards,  buffets,  man- 
tels, bookcases,  seats, 
lounges,     screens      or 


1 

m^Y^ 

§ — '  i — i 

i         i 

Fig.  220. 


grilles,  portfolios,  and 
furniture  for  special  places.  The  sideboard  is  as  much 
a  part  of  the  design  of  the  dining-room  as  the  doors 
or  windows,  and  it  is  quite  absurd  to  expect  that  by 
an}*  accident  an  architect  working  in  his  office  and  a 
furniture  designer  in  a  distant  citv  each  should  design 
something  altogether  harmonious.  One  would  hardly  ask 
an  architect  to  design  a  door-casing  and  then  ask  some 
special  worker  to  design  the  door,  yet  in  a  measure  this 
sort  of  thing  is  done  when  the  sideboard  or  the  mantel 
is  selected  from  the  work  of  some  special  designer  who 
has  no  knowledge  of  the  room  in  which  it  is  to  be  placed. 
A    sideboard    or    a    mantel    is    a     natural    part    of  the     room, 


MATERIALS    AND    DETAILS. 


295 


and  the  composition  cannot  succeed  unless  they  are  devel- 
oped by  one  artist.  The  designs  given  for  this  kind  of 
furniture  are  for  special  places,  and  they  belong  to  the 
houses  and  the  people  for  whom  they  were  made,  and 
naturally  cannot  be  a  successful  part  of  another  house 
designed    by    another    architect. 

Bookshelves  nearly  always  belong  to  a  special  place, 
and  even  were  artistic  considerations  entirelv  disregarded 
it  would  be  absurd  to  expect  to  buv  bookshelves  which 
would  lit  a  given  space  where  books  may  be  placed. 
One  seldom  sees  what  is  generally  known  as  bookcases 
in  a  modern  house.  There  may  be  a  few  books  with 
fine  bindings  and  other  rare  qualities  which  should  be 
protected    by    glass.       But    ordinary    books    look    better    and 


Fig.    221. 


296 


BEAUTIFUL    HOUSES. 


are  altogether  more  serviceable  when  they  are  placed  in 
shelves  in  a  way  to  be  readily  reached  without  the 
obstruction  of  glass  doors  or  other  barriers.  The  design 
indicated     by    Fig.    220     is    of    a    typical    plain     section     of 


Fig.    222. 


bookshelves  which  form  the  general  model  of  all  fittings 
of  this  kind  furnished  by  the  writer.  It  is  to  be  observed 
that  the  lower  section  projects  a  little  beyond  the  shelves 
proper.  This  admits  of  a  little  space  on  which  to 
place  a  book  temporarily.  The  lower  section  has  panel 
doors  which  are  hinged  from  below.  In  this  part  may  be 
placed  unbound  magazines,  catalogues,  unpresentable  books, 
and  other  material  of  like  character.  The  best  fitting  to  use 
for  supporting  shelves  is  a  small  metallic  plug  especially 
made  for  that  purpose.  With  this  arrangement  the  shelf 
may    be    placed    at    varying    heights    without   taking   out  the 


MATERIALS    AND    DETAILS. 


297 


plug.  It  may  be  merely  turned,  and  by  its  eccentricity 
the  shelf  may  be  raised  or  lowered  within  certain  narrow 
limits  at  will.  We  all  know  that  it  is  desirable  to  be 
able  to  make  finer  adjustments  of  shelves  than  is  usual 
with  the  ordinary  wood-ratchet  contrivance.  Portfolios  or 
cases  may  be  placed  after  the  manner  shown  by  Fig. 
222.  The  portfolio  can 
be  drawn  out  into  the  room 
in  a  way  to  afford  a  con- 
venient support  for  other 
lighter  portfolios  and  docu- 
ments of  various  kinds. 
Very  few  buildings  of 
moderate  cost  are  pro- 
vided with  proper  arrange- 
ments   of  this    character. 

Fig.  221  indicates  an 
arrangement  of  book- 
shelves, and  a  mantel  which 
was  used  in  a  remodelled 
house.  The  mantel  is 
of  brick,  the  woodwork 
on  either  side  of  cherry 
stained  a  reddish  brown, 
the  various  details  of 
which  are  of  the  same 
character  as  the  other  woodwork  provided  for  the  room. 
This  arrangement  provides  for  a  proper  display  of  bric- 
a-brac    and    a    limited    number    of  books. 

Books    are    the    nicest    thing    about    bookshelves,    which 
therefore  should  not  be  very  elaborate.     There  is  no  reason 


Fig.    223.  —  A    Cosey    Seat. 


298 


BEAUTIFUL    HOUSES. 


why  any  large  amount  of  woodwork  should  be  shown 
in  this  kind  of  shelving.  It  is  often  well  to  have  a 
little  space  above  for  the  display  of  interesting  objects 
which  one   likes  to   have   in  a  sitting-room   or  library. 

The    arrangement     of    books     around     a     doorway    (Fig. 


Fig. 


A    Seat    at    Pierrefonds. 


115)  is  given  by  way  of  suggestion  as  to  what  may  be 
done.  Another  instance  is  given  in  Fig.  222,  which 
shows  bookshelves  on  each  side  of  a  window,  and  a  seat 
between.  A  very  enticing  arrangement  of  seat  and  book- 
shelves  is  shown  by   Fig.   223. 

Special    locations    suggest    their     own     interpretation    for 


MATERIALS    AND    DETAILS. 


299 


uses  of  this  kind,  and,  as  said  before,  all  should  be 
developed  by  the  architect,  so  that  the  little  mould- 
ings, the  touches  of  finish,  the  varnishing  and  all  should 
harmonize  properly  with  the  other  structural  parts  of  the 
building. 

The  varying  forms  of  window-seats,  seats  in  connection 
with  mantels,  bookcases,  those  in  niches,  etc.,  suggest 
themselves     in    the 


•IN. 


development    oi     a 

house    p  Ian.      At 

times    one    finds    a 

space    or    corner 

such    as    shown    in 

Fig.      223.       Again 

it  is  like  that  shown 

at    the    end    of  the 

dining-roo m  o n 

page     196.       As    a 

rule,  wherever  one 

finds  wall  space  he 

may    find    a    place 

for  a   seat.     While 

one    may   not    care 

to   avail   himself  of 

these  great   opportunities,  there   is    vet  the    chance.       I    give 

here     one     of    the     seats     from     the     banquet     hall     of     the 

Chateau    of   Pierrefonds    (Fig.    224).      These    are    in    niches 

and    arranged    along    the    wall    of    a    great     room    in    which 

there     are     splendid     fireplaces,     tall     wainscoting,    an     oak 

ceiling    with     carved     beams,     richlv   decorated    walls    huner 


Fig.    225  —A    Couch. 


with    armor,    and    beautiful    windows     hung   with   interesting 


3°° 


BEAUTIFUL    HOUSES. 


draperies.       The    arrangement    of  such    seats    is    properly   a 
problem    for    the    architect. 

In  the  furnishing  stores  one  sees  woodwork  which  is 
sold  under  varying  names  —  spindle-work,  fret-work,  etc. 
One  can  even  buy  this  material  by  the  foot,  have  it  sawed 
off  in  the  proper  length,  take  it  home  and  nail  it  up  in  his 
doorway  to  form  a  part  of  the  confusion  which  inevitably 
follows  this  way  of  furnishing  a  house.  In  one  of  For- 
tuny's  pictures,  tk  La  Vicaria,"  is  a  most  magnificent  screen. 


Fig.    226.  —  Recessed    Windows. 

It  is  of  wood,  and  forms  an  important  part  of  a  great  paint- 
ing. This  screen  is  the  work  of  an  accomplished  artist. 
The  seat  at  the  right  of  the  room,  the  shelves  by  the 
screen,  the  woodwork  of  the  balcony,  and  the  door  finished 
with   nailheads  are  all  worthy  of  special  attention. 

On  page  195  the  suggestion  offered  by  this  picture  was 
used  in  separating  a  little  music-room  from  a  large  hall. 
There  is  an  idea  in  connection  with  the  general  design  ot 
the  screen  shown  in  Fortuny's  picture.  Nearly  all  work 
of   this  kind   is  made  to  fit  into  an   opening  and  reach  to  the 


MATERIALS    A. YD    DETAILS.  301 

top  of  it.  What  a  pleasant  relief  is  this  suggestion,  where 
the  screen  is  set  inside  the  opening  and  docs  not  reach 
the  ceiling!  As  shown  in  Fig.  139,  I  have  undertaken  to 
illustrate  how  this  idea  may  be  carried  out  in  a  modern 
house. 

On  pages  147  and  149  arc  shown  designs  of  grille  work 
for  the  upper  section  of  doorways.  Work  of  this  character 
requires  very  careful  designing,  and.  to  be  permanent,  very 
careful  execution.  In  order  to  give  it  the  necessary 
strength  there  is  a  temptation  to  make  it  heavy.  In  this 
instance  the  woodwork  is  hardly  three-quarters  of  an  inch 
thick,  yet  in  its  construction  it  comprises  six  thicknesses 
of  veneer.  This  work  is  of  the  same  general  character  as 
that  in  use  during  the  latter  part  of  the  fifteenth  century 
in  the  middle  of  France. 

The  screen  shown  in  Fig.  148  which  separates  the  hall 
in  the  same  structure,  is  made  up  largely  of  forms  which 
belong  to   the   Byzantine  architecture   of    the    sixth    century. 

Fig.  225  shows  the  picture  of  a  couch  in  a  living-room. 
Fig.  226  shows  a  wainscoted  room  with  a  low  ceiling  and 
high  recessed  windows  with  flower-pots. 


MATERIALS      AND      DETAILS.  —  Continued. 
CHAPTER    XXVI. 

WALLS       AND     CEILINGS.  PUBLIC     JUDGMENT.  THE     MISLEADING      INFLUENCE      OF 

LARGE      EXPENDITURES.  PERMANENCY     IN    DECORATION.  WALL      PAPERS.  

FRESCO.  JUTE.   DENIM.  SILK. 

THE  interior  decorator  has  had  much  to  do  with 
making  our  houses  ugly.  The  pretentious  way  in 
which  he  has  done  this  work  and  the  prices  which  he  has 
been  paid  for  it  have  debased  public  taste.  When  one  pays 
eio'ht  or  ten  times  as  much  for  the  so-called  decorative 
work  in  a  room  as  it  is  worth,  one  wishes  to  think  it 
artistic.  The  impression  is  conveyed  to  the  visitor  and  the 
neighbor  that  it  ought  to  be  good,  that  the  price  is  high 
enough,  and  that  it  was  done  by  one  well  versed  in  such 
matters.  While  people  try  to  admire  what  is  expensive, 
they  cannot  be  sincere  unless  there  is  real  merit  in  what 
is  brought  before  them. 

One  is  told  that  an  ambitious  merchant  has  paid  a 
thousand  dollars  for  the  decoration  of  a  room.  Unques- 
tionablv  this  sum  of  money  might  do  something  worthy, 
but  if  its  expenditure  is  directed  by  one  without  proper 
knowledge  the  result  will  be  the  worse  of  the  unusual 
effort.  The  neighbors  go  with  wondering  eyes  to  see 
the  thousand-dollar  room.  The  colors  are  inharmonious, 
the     decorative     forms     are     many     and     bad.       Nevertheless 

302 


MATERIALS    AND    DETAILS.  303 

they  try  to  admire.  They  aeeount  for  their  own  lack 
of"  positive  enjoyment  in  looking-  at  this  room  on  the 
ground  that  they  are  unable  to  appreciate  it.  They 
suppose  that  it  is  all  right,  but  they  cannot  under- 
stand   it. 

The  trouble  is  not  with  the  observers,  but  with  the 
supposed  decorator.  Nothing  elevates  public  taste  so 
much  as  good  art.  Nothing  degrades  it  so  much  as  pre- 
tentious bad  art.  People  wish  to  admire,  and  will  try  to 
admire,  the  offensive.  Their  first  judgment  is  formed 
upon  the  representations  made  to  them,  and  as  they  can- 
not really  admire  the  pretentious  ugly  thing  thev  account 
for  it  by  deprecating  their  want  of  knowledge  and  taste 
in  such  matters.  If  not  that,  they  blindly  pretend  to 
admire  and  thus  deceive  themselves.  Through  such  a 
process  there  is  cultivated  a  low  kind  of  admiration 
for  ugly  things.  This  kind  of  taste  is  fostered  by  the 
decorator  who  says  that  floral  designs  are  in  style  this 
year,  or  that  large  figures  are  the  proper  thing  at  this 
time,  and  in  that  way  leads  the  public  from  one  form 
of   ugliness    to    another. 

People  are  easily  impressed  by  this  argument.  For 
some  reason  many  dislike  to  be  out  of  style.  There  is 
nothing  which  will  so  quickly  dispel  false  ideas  of  this 
kind  as  a  few  well-decorated  rooms.  Most  great  work 
is  relatively  simple,  and  it  is  not  what  the  merchant 
decorator  wishes  to  see  perpetuated.  There  is  no 
change  in  the  style  of  things  that  are  in  good  taste. 
A  truly  beautiful  room  is  always  in  style.  Good  taste 
is  perennial.  One  who  follows  the  mode  wishes  to 
have    a    different    kind  of   ugliness    every   few    years,   without 


304  BEAUTIFUL    HOUSES. 

knowing  exactly  why  he  tires  of  it;  but  one  who  has  a 
really  beautiful  room  does  not  care  to  change.  Eight 
or  ten  years  may  pass  without  a  thought  of  alteration. 
If  the  material  used  is  permanent  enough  in  character, 
there  is  no  reason  why  it  should  not  be  a  source  of 
satisfaction  and  pleasure  for  ten,  twenty,  or  thirty  years. 
No  one  can  be  so  brutal  as  to  wish  to  change  really 
beautiful  walls  every  few  years.  If  they  are  really 
ugly,    there     is     some    justification     in     change. 

It  is  only  a  few  years  since  it  became  really  easy 
to  have  good  work  done  in  wall  papers.  A  few  con- 
cerns have  emploved  real  artists,  and  where  their  products 
have  been  used  it  is  not  uncommon  to  see  rooms  which 
have  remained  in  the  same  condition  for  eight  or  ten 
years.  It  was  not  easy,  however,  to  get  good  figured 
papers  previous  to  that  time.  Ingrain  papers  were  a 
great  relief  from  the  ugly  figured  designs  of  former 
times.  With  the  introduction  of  other  plain  papers  of 
any  tint,  it  became  a  very  easy  matter  to  secure  interest- 
ing effects  at  a  moderate  cost.  One  is  now  able  to  get 
very  beautiful  figured  ingrains  and  pulp  papers.  The  art 
schools  of  the  country  and  the  better  artistic  spirit  have 
produced  designers  who  do  a  very  high  grade  of  work 
for  wall-paper  manufacturers,  so  that  very  beautiful  rooms 
can  be  obtained  at  a  very  low  cost.  Good  plain  and 
figured  papers  are  before  the  people,  and  if  it  only  be- 
come a  universal  custom  to  buy  really  good  things  a 
great  work  will  be  done  at  once.  A  great  majority  of 
the  people  have  not  the  courage  to  depart  from  general 
methods,  even  where  everything-  is  very  wrong.  The  few 
courageous     people    who    do    the    right    thing    because    it    is 


MATERIALS    AND    DETAILS.  305 

right  must  in  time  affect  the  multitude.  There  can  be  no 
question   as   to  the   ultimate   effect  of   a  good   example. 

Beautiful  and  permanent  wall-patterns  in  stamped  paper 
are  now  produced,  so  that  the  medium  for  securing 
good  results  cannot  be  said  to  be  wanting.  If  the 
people  will  only  disregard  the  talk  of  the  salesman  about 
what  is  or  is  not  the  style,  and  select  what  is  artistic  and 
beautiful  for  its  own  sake,  the  period  of  ugliness  will  soon 
pass. 

There  is  a  tendency  to  undervalue  the  character  of 
work  which  may  be  done  with  wall-papers,  because  so 
much  bad  work  has  been  done.  It  is  looked  upon  by 
many  people  as  a  common  and  ordinary  material.  But 
the  question  is  merely  one  of  design,  color,  and  drawing. 
As  we  now  have  all  this  in  wall-papers,  we  may  be 
certain  of  securing  satisfactory  results.  A  paper  surface 
is  a  good  one,  from  both  an  artistic  and  a  practical 
standpoint,  and  with  the  improvement  in  design  there 
can    be    no    question     about    its   extended    use. 

With  the  improvements  in  paper-making,  there  has 
been  developed  material  which  lends  itself  readily  to  the 
production  of  various  surfaces.  The  artistic  quality  of  any 
product  is  dependent  entirely  upon  the  one  who  gives  color 
and  design  to  it.  There  are  papers  with  stamped  surfaces, 
in  which  there  is  no  effort  at  imitation  of  other  materials, 
which  are  very  satisfactory.  Paper  lends  itself  to  an  infi- 
nite variety  of  uses,  one  of  the  most  satisfactory  being 
the  production  of  designs  in  low  relief.  The  artistic 
value  of  such  material  depends  upon  its  having  been 
shaped    and    colored  by    an    artist. 

Cloth   surfaces    of  silk,    cotton,   jute,    and    other   material 


306  BEAUTIFUL    HOUSES. 

of  that  character  are  used  for  wall  decoration.  Very 
interesting  results  are  secured  through  such  mediums. 
Light  cotton  prints,  cretonnes,  and  other  materials  whose 
name  and  variety  are  legion,  are  used  in  this  way. 
There  can  be  no  question  as  to  the  artistic  value  of 
these  substances.  However,  some  are  naturally  absorbent, 
and  are  usually  applied  by  tacking  to  the  wall  surfaces. 
Their  sanitary  value  may  be  seriously  questioned.  Heavier 
cotton  fabrics,  such  as  jute  and  denim,  are  often  used  and 
applied    in    the    same    manner    as    wall-papers. 

Jute  has  .a  fine  natural  color,  —  a  rich  tawny  brown, 
—  and  is  capable  of  being  stencilled  or  otherwise  decorated 
in  colors  in  a  way  to  form  a  permanent  and  very  beauti- 
ful covering.  Denim  admits  of  the  same  character  of  treat- 
ment. It  has  an  individuality  of  color  and  surface  which 
is  very  satisfactory.  It  is  much  better  that  material  of 
this  character  should  be  left  entirely  plain  rather  than 
be  decorated  by  an  uncertain  hand.  The  great  value 
of  ingrain  paper  and  other  materials  having  a  plain  sur- 
face is  that  there  is  less  danger  of  failure  when  handled 
by  ordinary  ability.  It  is  lamentably  true,  however,  that 
there  are  very  few  people  but  have  the  assurance  to 
undertake  the  most  difficult  of  problems  in  the  decoration 
of  wall-surfaces;  viz.,  the  selection  of  material,  color,  and 
design.  While  the  color  sense  is  lacking  in  most  people, 
few  indeed  are  aware  of  their  infirmity;  and  the  number 
who  can  judge  the  drawing  of  figure  designs  is  even 
less. 

It  is  hardly  possible  to  enumerate  the  various  materials 
and  the  character  of  surface  which  may  be  applied  to 
walls    as    a    means  of   decoration.     The    general    principle    in 


MATERIALS    AND    DETAILS.  307 

the  formation  of  successful  designs  can  never  vary.  The 
mediums  ma)*  increase  in  number,  but  the  general  prin- 
ciple   covering   their    use    must    remain    the    same. 

The  frescoer  has  perpetuated  much  ugliness  in  house 
decoration.  He  has  been  employed  by  the  more  ambi- 
tious house-owners,  and  has  been  pretentious  and  dog- 
matic. He  has  received  liberal  compensation,  very  much 
more  than  his  services  have  been  worth.  He  has  covered 
walls  with  twining  floral  designs;  he  has  pictured  birds, 
or  made  bad  copies  in  form  and  color  from  the  rococo 
period;  and  altogether  has  done  a  great  deal  of  very 
ugh'  work.  Not  many  years  ago  a  few  ambitious  and  fairly 
well-trained  young  men  in  the  East  began  to  do  decorative 
work  of  this  character  in  a  better  way.  They  were 
very  successful,  and  their  work  commanded  such  good 
prices  that  it  was  soon  out  of  the  reach  of  the  masses. 
But  from  the  demand  for  this  sort  of  thing  there  has 
developed  a  larger  supply,  so  that  we  now  find  in  larger 
cities  a  few  decorators  who  are  doing  sincere  work. 
This  is  educational.  In  time  we  may  expect  to  see 
satisfactory    general    results. 

One  must  naturally  be  very  careful  in  dealing  with 
many  mere  professionals.  There  are  many  who  are 
unworthy,  and  who  make  up  in  skill  as  salesmen  what 
the)-  lack  in  artistic  ability.  They  soon  learn  to  ape 
the  manners  and  sincere  expressions  of  real,  earnest,  well- 
educated  designers,  but  their  work  is  always  a  failure 
in  execution.  Another  source  of  danger  comes  from 
merchants  who  employ  artists  to  make  meritorious  water- 
color  sketches  to  show  to  the  patrons,  but  who  execute 
these    designs   through  a  very  common  grade  of  workmen. 


308  BEAUTIFUL    HOUSES. 

It  is  true,  however,  that  the  number  of  conscientious 
and  well-educated  decorators  is  on  the  increase.  Within 
a  few  years  we  shall  have  a  better  education  and  a  large 
number  of  successful  workers  in  this  branch  of  art. 
Under  the  difficulties  of  recent  years,  it  is  not  to  be 
wondered  at  that  people  have  done  very  little  that  is  per- 
manent in  house  decoration.  Now  that  a  better  grade  of 
ability  has  entered  this  field,  there  is  no  reason  why  we 
should  not  think  seriously  of  using  permanent  materials 
in  the  decoration  of  our  homes.  The  establishment  of 
art  schools  in  nearly  all  of  the  cities  of  our  country 
leads  to  this  state  of  affairs.  An  artist  can  express  him- 
self quite  as  well  on  a  plastered  wall-surface  as  upon  a 
few  square  feet  of  canvas.  The  training  which  a  young 
man  or  a  young  woman  receives  in  an  art  school  in 
drawing  from  casts  and  figures,  and  the  general  training 
of  the  mind  in  the  appreciation  of  things  artistic,  are 
exactly  what  is  necessary  to  develop  house  decorators 
with  the  artistic  quality.  While  it  may  be  a  worthy 
ambition  to  become  a  great  painter,  it  is  well  to  bear  in 
mind  that  such  a  one  must  have  more  than  the  ability  to 
color  and  draw  well.  Fie  must  combine  with  these  the  abil- 
ity of  a  great  poet  or  philosopher  in  order  to  paint  pictures 
to  reach  the  human  emotion.  Not  all  can  do  this.  Many 
who  undertake  it  would  do  much  better  and  better  play 
their  part  in  the  world  by  learning  to  appreciate  the 
work  of  the  great  painters,  and,  through  the  mental  train- 
ing thus  afforded  and  the  manual  dexterity  gained  in  the 
art    school,   by    intelligently    decorating    buildings. 

The  thought  of  permanency  in  decorative  wall-sur- 
faces    may     not    at     once     impress     any    large     number     of 


MATERIALS    AND    DETAILS.  309 

people.  So  much  of  the  work  having  been  done  unsatis- 
factorily in  the  past,  there  is  no  reason  why  it  should 
be  permanent.  It  is  better  that  it  should  be  temporary. 
But  the  work  of  an  artist  may  well  be  permanent. 
There  is  no  reason  why  it  should  not  last  as  long  as 
the  building.  There  is  no  reason  why  it  should  not  be 
done  with  material  which  is  as  lasting  as  the  other  parts 
of  the  structure.  It  is  well  for  a  healthy  mind  to  live 
in  a  well-decorated  building  without  change.  If  all  dec- 
oration were  beautiful  and  artistic,  and  so  became  a  part 
of  our  lives,  it  would  be  sad  indeed  if  it  should  be  taken 
from  us.  It  should  be  to  us  as  our  pictures,  our  books 
and    furniture. 

Many  good  houses  are  planned  by  conscientious  archi- 
tects, and  turned  over  to  the  owners  with  their  white  or 
gray  walls  to  be  turned  into  chambers  of  horrors.  Inhar- 
monious colors  and  bad  designs  run  riot.  No  amount  of 
business  success  will  in  itself  render  a  business  man 
capable  of  decorating  his  own  house.  No  amount  of 
social  tact  or  home-loving  qualities  will  enable  a  woman 
to  do  the  same  thing.  It  is  a  mere  question  of  artistic 
training.  Not  every  housekeeper  or  successful  business 
man    can    decorate    his    own    house. 


MATERIALS    AND     DETAILS.  —  Continued. 
CHAPTER    XXVII. 

MATERIALS.  KINDS    OF    WOOD. MOULDINGS    IN    WOOD.  PLAIN   SURFACES.  THE 

WOOD     SCREEN    AT    AMIENS. STAINING    OF    WOOD. WOOD     FINISHES. WOOD 

FLOORS. WORKMANSHIP. 

A  MATERIAL  which  may  add  so  much  to  the 
appearance  of  the  interior  of  a  house  as  wood 
should  have  serious  consideration.  Much  more  could  be 
done  with  this  material  than  is  usually  accomplished. 
Much  beautiful  wood  is  absolutely  ruined,  either  from  the 
forms  which  are  given  it,  or  the  way  in  which  it  is 
finished  by  the  varnishers  after  it  has  been  placed  in 
position.  It  is  for  this  reason  that  people  do  not  realize 
the  artistic  value  of  plain  surfaces  of  wood.  We  com- 
monly find  doors,  casings,  and  other  woodwork  loaded 
with  clumsy  and  ugly  mouldings.  I  am  not  pleading 
for  absolutely  plain  surfaces,  nor  for  the  doing  away 
with  mouldings  or  other  decorative  forms.  Far  from  it. 
Properly  formed  mouldings  and  decorative  surfaces  in  the 
right  place  are  necessary  ;  but  they  must  be  suited  in 
character  to  the  material  used,  and  must  be  a  means  to 
an  end  rather  than  the  end  itself.  Forms  may  be 
devised  either  to  emphasize  and  accentuate  the  natural 
beauty  of  moulded  and  decorated  surfaces,  or  to  bring 
natural      plain     surfaces     into     their     proper     relation.       We 


MATERIALS    AND    DETAILS.  311 

often  find  on  the  interior  of  a  house  deeorative  forms 
and  mouldings  which  are  suitable  only  to  exterior  stone- 
work. It  is  true  that  certain  stone  forms  are  suited  to 
wood,    but    not    all    are. 

In  designing  the  interior  woodwork,  the  architect  has 
the  natural  beauty  of  the  wood  to  help  him.  He  can 
handle  it  in  a  characteristic  way.  While  stone  is  a 
pleasing  material,  there  is  not  that  help  from  its  texture 
or  color  which  comes  from  wood.  The  beauty  of  stone- 
work is  largely  in  the  distinctive  forms  which  are  given 
it.  Wood  has  its  own  natural  beauty,  which  may  be 
rendered  yet  more  interesting  by  the  forms  given,  if  they 
are  considered  with  respect  to  the  beauty  of  the  material. 
But  no  matter  how  interesting  in  themselves,  if  the  forms 
be  unsuited  to  execution  in  wood  they  will  destroy  the 
beauty    of  the    material    itself. 

In  following  these  principles  one  must  not  be  too 
sweeping.  A  Doric  column  is  essentially  stone  con- 
struction, yet  the  mouldings  thereof  and  the  form  of  the 
column  itself,  particularly  if  the  Roman  channels  be  not 
used,  are  well  adapted  to  showing  the  grain  of  the 
wood.  What  could  be  more  beautiful  than  a  Doric 
column  of  maple  on  the  interior  of  a  building,  and 
finished  in  its  natural  color  ?  The  mouldings  at  the  base, 
the  plain  intervening  surface  from  the  base  to  the  cap. 
the  cap  mouldings,  the  shadows  coming  thereon  from  the 
reflected  light  of  a  room,  are  very  beautiful.  The  Ionic 
cap  is  not  a  particularly  interesting  form  for  wood  con- 
struction. A  Corinthian  capital  is  not  adapted  to  wood, 
particularly  to  heavily  grained  woods,  such  as  oak  or 
sycamore.     Altogether,    we    find    that    the    more    elaborately 


312  BEAUTIFUL    HOUSES. 

decorated  orders  are  less  satisfactory  in  wood  than  the 
plainer  ones.  Plain  Greek  mouldings  always  look  particu- 
larly well  in  wood.  The  curves  are  soft  and  gentle,  the 
lines  and  recesses  sharply  accentuated.  One  gets  the 
variety  of  form,  the  decorative  interest,  without  sacrificing 
the  natural  beauty  of  the  material.  Reference  to  some 
of  the  Greek  mouldings  specifically  mentioned  in  this 
volume    will    illustrate    this    point. 

A  great  deal  of  money  is  often  spent  upon  mere 
workmanship,  without  artistic  direction,  when  if  one  were 
somewhat  more  particular  in  the  selection  of  material,  and 
kept  the  surfaces  much  plainer,  the  cost  would  be  much 
less  and  the  artistic  result  much  more  satisfactory.  It  is 
not  uncommon  to  see  pine  or  poplar  used  to  save  a  little 
money  in  the  cost  of  material,  nor  is  it  at  all  uncommon 
to  see  enough  money  expended  in  mere  workmanship  to 
have  permitted  the  use  of  plain  mahogany  instead  of  the 
elaborate  pine  or  poplar.  There  is  no  artistic  gain  in 
making    a    very    elaborate    mahogany    door. 

Pine  can  be  made  to  look  very  beautiful,  but  it  can 
hardly  be  kept  so  permanently.  White  pine  finishes  well, 
but  does  not  stand  the  ravages  of  time.  It  turns  yellow, 
soon  becomes  marred,  and  in  a  few  years  is  far  from 
beautiful.  This  is  also  true  of  poplar.  Poplar  stains 
well,  but  is  too  soft  for  use.  The  ideal  material 
for  finish  is  one  which  resists  all  ordinary  use  and 
continues  to  improve  with  age.  This  is  true  of  almost 
any  hard  wood,  particularly  oak.  In  the  structures  of 
the  Old  World,  one  finds  splendid  decorations  in  that 
material  which  are  beautiful  to-day  after  several  hundred 
years     of     use.       There     is     no     more     beautiful     piece     of 


MA  TERL  XLS    .  XND    DETAILS. 


3^3 


woodwork  in  existence  than  the  choir  stalls  in  the 
cathedral  at  Amiens,  which  were  executed  in  the  four- 
teenth century.  The  work  itself  is  quite  as  substantial 
as  it  was  on  the  day  it  was  finished.  During  the  Revolu- 
tion the  fleurs-de-lis  were  scraped  from  the  panels,  but 
otherwise  it  is  unharmed.  One  cannot  make  a  mistake  in 
using'  oak  for  the  finish  of  his  house.  Just  now  quar- 
tered white  oak  is  a  relatively  inexpensive  material, 
and  quartered  red  oak  even  less  costlv.  The  difference 
in  the  cost  of  finishing  a  room  in  oak  or  in  pine  or 
poplar  is  not  great  and  is  in  no  way  commensurate  with 
the  difference  in  value.  The  soft  wood  depreciates 
greatly  in  a  few  years,  while  oak  takes  to  itself  a  color 
and  richness  which  render  it  more  valuable  with  age. 
Soft  wood  depreciates  and  hard  wood  appreciates  in 
value. 

Maple  has  been  mentioned.  This  is  a  very  pleasing 
material  for  a  dainty  chamber,  or  a  light,  delicate  recep- 
tion-room. Its  great  beauty,  however,  is  its  light-ivory 
color,  which  it  cannot  be  expected  to  keep  much  beyond 
eight  or  ten  years.  It  has  been  a  habit  to  stain  maple, 
yet  birch  is  more  interesting  when  treated  in  this  way. 
Birch  is  a  hard  wood  and  admirably  suited  to  staining. 
It  is  also  a  good  material  to  enamel-finish.  One  fre- 
quently sees  poplar,  or  whitewood,  which  is  the  Eastern 
name  for  this  material,  enamelled  or  even  ebonized.  But 
it  should  not  be  so  used,  for  the  reason  already  given  — 
the  body  is  not  hard  enough.  Enamel  and  ivory  finishes 
should  be  applied  to  hard  woods,  to  birch  or  maple. 
Cypress  is  a  reasonably  hard  wood  well  suited  for  such 
uses,    though    its     natural     grain     should     be     obliterated     as 


314  BEAUTIFUL    HOUSES. 

nearly  as  possible.  It  should  be  used  only  for  some 
sort  of  paint  finish.  The  natural  grain  of  cypress  is  as 
violently  ugly  and  coarse  for  interior  finish  as  yellow 
pine. 

Xo  wood  presents  a  greater  variety  of  surface  than 
quarter-sawed  sycamore.  It  finishes  beautifully,  but  be- 
comes tiresome  if  much  of  it  is  used.  The  first  impres- 
sion made  by  a  room  finished  with  this  material  is  very 
satisfactory.  On  one  hand  there  are  surfaces  which  rival 
bird's-eye  maple;  near  it  others  with  the  variety  of  quar- 
tered oak;  again  other  bits  quite  as  pronounced  and 
unusual,  as  curly  birch;  and  still  others  so  peculiar  in 
character  that  one  finds  no  basis  for  comparison.  People 
are  usually  very  enthusiastic  when  they  first  see  syca- 
more, but  they  soon  find  it  too  aggressive  in  beauty, 
and    weary    of   it. 

Cherry  has  a  splendid  hard  texture  capable  of  being 
stained  and  beautifully  finished,  but,  excepting  for  its 
variety,  it  is  not  as  interesting  as  some  other  hard 
woods  ;  generally  it  does  not  improve  with  age.  It 
is    now    almost    as    expensive    as    mahogany. 

One  might  further  consider  this  subject  of  woods, 
but  without  particular  gain.  There  is  a  tendency  on  the 
part  of  many  people  to  seek  great  variety  in  the  finish- 
ing of  a  house,  to  have  a  different  wood  in  every  room 
if  possible.  There  is  certainly  no  artistic  advantage  in 
such  an  arrangement.  While  there  is  no  objection  to  a 
certain  amount  of  variety,  the  restless  spirit  which  does 
away    with    all    repose    is    certainly    obnoxious. 

The  problem  of  the  hard-wood  floor  was  a  good 
many     years      in     reaching     a     satisfactory     solution.       There 


MATERIALS    AND    DETAILS.  315 

can  be  no  question  as  to  the  sanitary  value  of  such  a 
floor.  Reasoning  from  this  standpoint  we  would  say, 
Place  them  all  over  a  house,  although  they  must  be 
largely  covered  with  rugs.  Rugs  have  a  great  advantage 
over  carpets,  because  they  may  be  readily  cleaned. 
But  it  is  the  constructive  problem  which  has  been 
troublesome.  Several  years  ago  the  writer  put  down 
a  great  many  solid  hard-wood  floors.  In  order  to  keep 
them  clean  they  had  to  be  put  down  after  all  other 
woodwork  had  been  placed  in  position,  and  all  work 
of  all  kinds  about  the  building  had  been  finished.  Then 
only  could  they  be  laid  and  finished.  ii  the  floors 
were  laid  after  the  other  work  remained  to  be  clone 
about  the  building,  they  were  sure  to  be  soiled;  again, 
the  intense  heat  of  the  furnace  caused  the  joints  to 
open,  maybe  but  slightly,  but  enough  to  make  them 
unsatisfactory. 

A  much  better  way  to  get  a  hard-wood  floor  is 
to  first  put  down  a  covering  of  narrow  yellow-pine 
flooring,  and  after  the  house  has  been  finished  to  lay 
one  of  the  hard-wood  floors  made  by  specialists  under 
the  varying  names  of  wood  carpeting,  parquetrv  flooring, 
veneer  floors,  etc.  If  one  uses  the  plain  patterns  of 
quartered  oak  the  cost  is  not  great  for  a  first-class 
floor,  and  the  result  is  much  more  satisfactorv  than 
bv  using  elaborate  designs  and  different  kinds  of  woods. 
A  number  of  years  ago  when  I  said  that  I  did  not 
believe  a  hard-wood  floor  could  be  made  satisfactorv. 
I  was  referred  to  the  splendid  hard-wood  floors  in 
France  and  Germany-  As  a  matter  of  fact,  one  sees 
many     well-cared-for     floors     in     these     countries,     but    few 


316  BEAUTIFUL    HOUSES. 

or  none  which  are  constructively  satisfactory  if  laid  in 
solid  strips.  The  floor  of  the  Louvre  receives  excellent 
attention,  but  has  cracks  into  which  one  can  readily 
drop  a  match.  This  floor  and  the  one  at  Versailles 
have  probably  done  quite  as  much  to  impress  Americans 
with  the  beauty  of  hard-wood  floors  as  any  others; 
yet  it  is  the  manner  in  which  they  are  cared  for,  rather 
than  the  floors  themselves,  which  commands  attention. 
This  is  also  true  of  the  floors  in  most  private  structures 
in  Europe.  Fig.  195  shows  the  usual  pattern  of  the 
French    floors. 

Various  preparations  for  floor  finishing  are  now  made 
which  are  quite  satisfactory,  and  which  wear  for  a  long 
time    without    renewing. 

After  one  has  done  all  that  one  may  in  the  prepara- 
tion of  drawings  and  in  the  selection  of  materials,  there 
is  yet  the  controlling  influence  of  workmanship.  Nothing 
will  atone  for  its  deficiency.  We  speak  of  beautiful 
surfaces  of  wood,  yet  if  they  be  not  carefully  executed 
their  very  plainness  is  uninteresting.  Good  design  is 
essential,    but    poor    workmanship    may    destroy    all. 

All  good  hard-wood  work  is  veneered  for  constructive 
reasons.  A  door  is  almost  certain  to  warp  if  it  does 
not  have  a  soft-wood  laminated  core.  All  of  the  large 
plain  surfaces  of  beautiful  wood  must  be  backed  up  with 
laminated  soft  wood  in  order  to  preserve  it  in  its  proper 
form  and  appearance.  These  are  matters  of  constructive 
detail  which  have  been  carefully  considered  in  another 
volume.  It  is  sufficient  to  say,  however,  that  the  standard 
of  workmanship  is  improving  with  years,  and  as  time 
moves    on    it    is    yet    easier   to   secure   satisfactory   execution. 


MATERIALS    AND    DETAILS. 


317 


The  finishing  of  hard  woods  by  the  varnisher  is  more 
successful  than  it  was  a  few  years  ago.  The  manufact- 
urers of  different  kinds  of  wood  finish  have  greatly 
improved  both  their  products  and  the  manner  of  marketing 
them.  They  now  give  careful  directions  and  samples 
illustrating    their    proper    use. 


'r^^V*SS'S>'r\ 


A   Decorative   Motive. 
(I.ouis  H.  Sullivan,  Architect.) 


MATERIALS     AND     DETAILS,  —  Continued. 


CHAPTER   XXVIII.1 


THE     ARTIST     BLACKSMITH. EARLY     \V<  >RK. HINGES.  L(  K'KS. NAIL-HEADS. 


T 


HE    ancient     blacksmith    was    an     artist.      He    expressed 
the     art    feeling    in     iron     over    the     anvil,     by     means 


Fig.    227.— A   Twelfth-Century    Grille. 


'All  the  illustrations  in  this  chapter  are  from  Viollet-le-Duc's  '-Diet,  de  l'Archi- 
tectnre." 

318 


MATERIALS    AND    DETAILS. 


,V9 


of     his      hammer     and      the      stamping-tool,      in      the      same 
general    way    that    the    sculptor    expresses     himself    in    elay 


Fig.    228.  — Of   the   Thirteenth    Century. 


or  stone.  To  him  iron  was  a  medium,  and  his  technique 
was  as  serious  a  question  as  is  that  of  the  painter. 
Compare  the  hinges  of  the  great  oak  doors  of  Notre 
Dame  of  Paris  with  the  work  of  the  other  artists  who 
were  employed  on  the  same  edifice,  and  we  may  judge 
of  the  seriousness  of  the  effort.  This  was  the  work  of 
the    thirteenth    century. 

Fig.  227  is  a  grille  —  an  iron  screen  —  of  the  early 
twelfth  century.  The  delicate  work  around  the  frame  is 
done     with     the     pointed     tool — a     kind     of     punch.       To 


32° 


BEAUTIFUL    HOUSES. 


Fig.    229. —  Common   in   the  Twelfth   Century. 

I  I  1 


o.!/i 
Fig.    230. —The    Eleventh    Century. 


MATERIALS    AND    DETAILS. 


321 


enrich  the  other  surfaces,  pointing  of  the  same  general 
type  covers  the  face  of  all  of  the  tendrils  and  the  upright 
muntins. 


A 


Fig.   231.  —  Twelfth-Century   Hinge. 


Fig.  228  is  a  grille  of  the  thirteenth  century,  from 
St.  Denis,  near  Paris.  The  marks  of  the  various  tools 
for     enriching     the      surfaces     are     plainly     shown     in     this 


322 


BE  A  UTIFUL    HO  USES. 


design.      Matrixes     of    various     designs    were    used    to    give 
to    the    surfaces    the    various    forms    shown. 


Fig.    232.  —  From    Notre   Dame,    of   Paris,   Thirteenth   Century. 


Fig.  229  is  a  form  used  in  windows,  and  was  very 
common  in  France  during  the  twelfth  century.  It  is  to 
he  remembered  that  during  that  period  the  merchant 
forms  of  the  iron,  as  we  would  speak  of  them,  were 
given     by    hand     with     hammers     and     on     an     anvil,    rather 


MATERIALS    AND    DETAILS.  323 

than    by    rolls    and    the    mechanical    methods    known   to  our 


Fig.   233.  —  Of   the    Fourteenth   Century. 


own    times.     We    may    know    of    all    of    the    advantages   of 
machinery,   and    yet   realize  that    because   of  the    convenient 


Fig.    234-  — A  Twelfth-Century    Lock. 


324 


BE  A  UTIFUL    HO  USES. 


methods     of    these     times     for     producing     the     forms     by 
machinery     our     men     have     not     only     lost     their    manual 


Fig.   235. 


dexterity,  but    also    the    spirit    of  the    artist.     There    can    be 
no    question    about    this. 

Hinges  reached  their  perfection  between  the  twelith 
and  thirteenth  centuries.  The  metal  work  was  used  not 
alone  to  hang  the  door,  but  as  well  to  hold  the  door 
itself    tog-ether.       Fig.     230     is      a     hinge      of     the     eleventh 


MATERIALS    AXD    DETAILS.  v 

century.  Fig.  231  shows  forms  and  methods  of  construc- 
tion peculiar  to  the  twelfth  century.  Figures  with  the  little 
tendrils  cut  from  the  sheet  of  metal  are  shown  in  their  curled 
decorative    forms    in    this    illustration.       The     same     general 


method   is  indicated    by  Fig- 


7~33-      Fi 


g-   232   indicates  some 


Fig.   236. 


of    the     details     from     the     hinges     on     the     great    doors     at 
Notre    Dame.      Fig.    233    is    a    hinge    formation    peculiar    to 


the     fourteenth     century.      Th 


e     rosettes    are     stamped     and 


7,26 


BEAUTIFUL    HOUSES. 


Fig.    237.  —  Of   the    Fifteenth    Century. 


welded     to     the     tendrils.       There     is     an     opening     in     the 
centre    through    which     the     nail    is    driven,    thus     rilling    an 


MATERIALS    AND    DETAILS. 


327 


important    decorative    office.       These     hinges    and     the     door 
formed    one    complete    composition. 

We     must    satisfy    ourselves     with     a    few     examples    of 


Fig. 


Fig. 


locks:    Fig.   234,  dating  from  the  twelfth 


century;    Fig.    235, 


from  the  thirteenth;  Fig.  236,  from  the  fourteenth;  and 
the  beautiful  work,  Fig.  237,  from  the  fifteenth  century. 
The  abundance  of  beautiful  examples  of  this  kind  of 
work  is  so  large  as  to  be  embarrassing  when  one  wants 
to    make    a   selection. 


7 
B 


FG. 


Fig. 


Of  art  expressed  in  nail-heads  I  can  select  but  a 
few  examples,  —  Figs.  238,  239,  240,  241,  242,  243, 
—  which      range       from       the       twelfth       to     the       fifteenth 


328 


BEAUTIFUL    HOUSES. 


centuries,     inclusive.       They     picture     their     own     descrip- 
tion. 

The  forms  are  all  natural.  There  is  no  attempt  to 
imitate  those  not  adapted  to  metal.  In  the  seventeenth 
and  eighteenth  centuries  there  was  an  effort  to  make  forms 
which  were  better  adapted  to  any  other  material.  In 
that  period  we  find  perfect  imitations  of  fruit,  leaves, 
and  other  natural  forms.  Decorative  stone  work  was 
even  imitated  in  iron,  but  the  metal  forms  were  rarely 
of  natural    objects. 


Fig.   24?- 


MATERIAL    AND    DETAILS.  —  Continued. 
CHAPTER    XXIX. 

GLASS. DECORATIVE   USES. RECENT    FAILURES    IX  CLASS    WORK. — ARTISTS'    WORK 

IN     GLASS. SUCCESSFUL    USE     OF    COLOR. 

THE  history  of  glass  merely  shows  that  the  useful  has 
taken  decorative  prominence.  It  is  certain  that 
the  original  idea  of  glass  was  to  let  light  into  the 
rooms,  and  windows  were  placed  solely  with  regard  to 
their  usefulness.  Now  windows  are  placed  so  that  they 
will  look  well,  and  their  useful  forms  are  made  decora- 
tive. This  is  the  history  of  all  decorative  features; 
their    origin    was    in    utility. 

The  history  of  glass  does  not  concern  us,  however. 
Recent  attempts  to  use  glass  in  a  decorative  way  in  our 
houses  have  not  contributed  to  the  progress  of  the  artis- 
tic. In  recent  years  we  have  passed  through  various 
stages  of  horrors  in  the  use  of  glass.  During  the  Old 
Colonial  time  glass  in  small  sizes  was  used  because  it 
was  inexpensive.  The  sash  was  divided  into  small  pieces 
by  wooden  muntins.  Interesting  forms  were  often  placed 
over  and  around  the  doors.  After  a  time,  however 
glass  came  to  be  used  in  larger  sizes,  and  during 
recent  years  it  has  been  the  ordinary  practice  to  have 
but  a  single  glass  in  a  sash.  The  advent  of  plate  glass 
favored  this  tendency  to  large  sheets.  Plate  glass  in  large 
sizes     came     to    be     a    fad,    and     we     even     now    see    great 

329 


33° 


BEAUTIFUL    HOUSES. 


show-windows     of    this    material     built    into     moderate-sized 
homes. 

Alter  the    larger-sized   sheets   had   come   into  general   use 
a    relief    from     the    plainness    of    these    large    openings    was 

sought.  Then  the  up- 
per sash  of  windows, 
the  transoms,  the  doors, 
and  single  sashes,  were 
divided  in  various  ways 
by  wooden  muntins. 
Sheets  of  colored  glass 
were  placed  in  them. 
More  often  than  other- 
wise the  selections 
were  made  by  people 
incapable  of  combining 
color  successfully.  Not 
i  n  fr  equently  violent 
reds,  blues,  greens,  and 
yellows  were  placed  in  the  same  sash.  In  time  it  was 
realized  that  this  was  not  beautiful,  and  there  was  a 
search  for  something  new  in  colored  glass.  There  came 
ribbed  glass,  opalescent  glass,  and  frosted  glass.  But  all 
were  relatively  cheap,  and  they  went  into  all  kinds  of 
houses. 

Later  came  the  so-called  art  glass.  The  sash  was 
provided  with  leaded  designs;  the  patterns  were  quite 
unusual,  very  elaborate,  tilled  with  many  kinds  of 
glass,  each  under  a  new  name.  The  coloring  was  start- 
ling, nearly  always  inharmonious.  Large  prices  were  paid 
for    these    exaggerations,    and    owners    are     known     to     have 


Fig.    244. 
(From   Viollet-le-Duc's  "Diet,  de  PArchitecture.") 


MATERIALS    AND    DETAILS. 


331 


estimated    the     artistic    value    according    to     the     price     per 
foot.     In    the     course    of  a    relatively    short    time,    however, 
these    ugly    things    became     common,    and,    being     ugly,    the 
people     began    to    suspect    them.       The     manufacturers     had 
something    else    ready    for    them.     The     country    was    rilled 
with    bevelled     plate    glass.       It    was     leaded     in    all     imagi- 
nable   shapes,    combined    with    jewels,     bulls'     eyes,    stained 
glass,   and   in    other   ways    made    quite    as    expensive    as    the 
other    designs.     This    glass    had     its     run,    and     again    there 
was     a     suspicion    that    there    was     something     wrong,    and 
now    nothing    is     wanted     but     plain     sheets.       This     simply 
proves    the    old    adage    that    all     of    the     people     cannot    be 
deceived    all    the     time.     When    thev    revolt    from     a    thino- 
of    this   kind  the}'  go  to 
an  unnecessary  extreme. 
If  the  stained  and  leaded 
glass  had  been  arranged 
and    designed  by  artists, 
this   reaction    would   not 
have     taken     place,    and 
man)-       homes       would 
have    been    much    more 
beautiful    than    they    are 
to-day. 

There  has  never 
been  a  reaction  from 
stained-glass  designs  ar- 
ranged   by    true    artists. 

The  greatest  known  to  us  are  those  of  the  thirteenth  and 
fourteenth  centuries.  The  world  can  never  grow  tired  of 
such    glass    as    is    found    in    the    Cathedral    of    Chartres    or 


Fig.   245. 
(From   Viollet-le-Duc's  "Diet,  de  P  Architecture.") 


332 


B EA  i  'TIFL Z    HOUSES. 


Nurenberg.  Viollet-le-Duc,  a  great  French  architect  and 
archaeologist,  in  speaking  of  an  early  experience  when  a 
child,  during  a  visit  to  Notre  Dame,  in  Paris,  says  :  "  I 
was  often  confided  to  the  care  of  an  old  domestic,  who 
led  me  to  walk  wherever  his  fancy  dictated.  One  day  he 
took  me  to  the  Church  of  Notre  Dame,  carrying  me  in 
his     arms,    for    the     crowd    was     great.       My    attention    was 

attracted    to  the 
glass  of    the 


south  rose- win- 
dow, through 
which  the  rays 
ol  the  sun  pen- 
etrated, colored 
by  the  most 
radiant  hues. 
I  still  seem  to 
see  the  spot 
where  we  were 
stopped  bv  the 
crowd.  S  u  d  - 
To  me  it  was 
My  old  guide 
this    impression, 


Fig.   246. 
(From  Viollet-Ie-Duc's  "  Diet,  tit-  1' Architecture.") 


denlv  the  great  organ  rose  into  music, 
the  rose  before  my  eyes  which  sung, 
sought  in  vain  to  undeceive  me.  Under 
more  and  more  lively  when  such  panels  of  glass  pro- 
duced the  graver  tones  and  such  others  uttered  the  high 
and  piercing  ones,  I  was  seized  with  such  terror  that  it 
was    necessary    to    take    me    out/' 

It  seems,  therefore,  that  it  is  not  education  alone 
which  establishes  within  us  these  intimate  relations  between 
the     various     expressions    of    art.       There     is     an     emotional 


MATERIALS    AND    DETAILS. 


333 


terest    in    any    kind    of    leaded    glass. 


influence  about  a  serious  work  of  art  which  is  never 
without  its  effect,  and  it  is  a  sad  thought  that  where 
we  might  have  had  so  much  that  is  beau- 
tiful, there  is  now  so  much  that  is  ugly, 
made  so  from  the  vulgar  desire  to  do 
the  unusual.  Jnst  at  this  time  the  major- 
ity   of    people    who    build    are    hard    to    in- 


vW 


Fig. 


be    used    in    a    building    as    of   the    leaded   sheet-glass 


Of  course  this  state  of  things  will  not 
last  long.  The  influence  of  what  is  really  beautiful  will 
make  itself  felt,  and  in  time  we  shall  have  beautiiul 
designs.  The  Old  World  affords  us  many  examples  of 
plain  leaded  glass,  really  inexpensive  and  of  great  artistic 
value.  Several  designs  of  this  kind  are  given  in  this  chap- 
ter. We  can  use  plain,  clear,  double-strength  American 
glass.  In  small,  neat  patterns  it  makes  a  very  interesting 
window.  These  same  patterns  can  be  carried  out  in 
lighter    tints    of    cathedral    glass,    though    not    so    much    can 

The 
successful  use  of  colored  glass  and  painted 
and  stained  glass  depends  entirely  upon 
the  presence  of  an  artist  to  control  the 
disposition,  coloring,  and  arrangement  of 
the  more  elaborate  patterns.  If  one  is 
not  skilled  in  the  use  of  color,  or  is 
without  some  one  in  whose  ability  he 
has  full  confidence,  it  is  best  to  use  the 
plain  leaded  glass,  or  small  quantities  of 
amber  and  other  light  tints  of  cathedral 
glass  in  the  same  leaded  forms.  One  is  safer  in  using 
onlv    one    color,    and    that    in    lio-ht    tints. 


Fig.   248. 


3M 


BEAUTIFUL    HOUSES. 


The  color  of  the  atmosphere  in 
a  room  may  be  largely  controlled  by 
the  proper  use  of  cathedral  glass. 
This  is  a  matter  which  has  not 
hitherto  been  properly  considered  in 
connection  with  the  planning  of  a 
home.  There  is  no  one  thing  which 
will  do  more  to  make  a  pleasant 
living-room  than  the  proper  arrange- 
ment of  colored  glass.  People  have  been  so  greatly  out- 
raged by  what  has  been  done  for  them  with  leaded  glass 
that    the    reaction    will    be    slow. 


Fig.   249 


Fig.   250. 


MATERIALS    AND    DETAILS.  —  Concluded. 
CHAPTER    XXX. 

MACHINERY    AND   THE    ARTS.  SCULPTURE    WORK.  MOULDED    BRICKS.  —  COLOR   IN 

BRICK. 

FEW  of  us  appreciate  the  improvement  machinery  has 
wrought  in  the  manufacture  of  brick.  This  is  not 
alone  through  their  reduction  in  cost  or  the  improvement 
of  the  ordinary  form,  but  as  well  in  the  production  of 
artistic  forms.  While  most  moulded  brick  and  those  of 
decorative  shapes  are  uninteresting,  there  are  those  which 
are    truly    beautiful    and    artistic. 

Some  of  us  decry  the  use  of  machinery  in  the  produc- 
tion of  things  artistic.  It  is  affirmed  that  the  artistic 
which  is  in  the  mind  can  find  expression  onlv  through 
the    intervention    of   the    tool    which    is    in    the    hand. 

Certain  grades  of  sculptural  work  and  certain  kinds  of 
carving  will  always  have  to  be  done  by  hand.  Yet  it  is 
true  that  many  decorative  motives  can  be  produced  and 
reproduced  as  well  through  the  agency  of  the  machine 
as  through  the  agency  of  the  hand.  It  is  the  artistic 
impulse  of  the  mind  guiding  the  hand  which  produces 
the  result.  Why  may  it  not  be  true  that  the  same  artistic 
impulse  and  the  same  mind  which  guide  the  hand  may 
also    guide    the    machine  ? 

There    are    many    manufacturers  of    moulded  brick    who 

335 


336  BEAUTIFUL    HOUSES. 

are  producing  by  machinery  very  clumsy  and  very  awk- 
ward designs.  The  mind  which  guides  the  machine,  the 
mind  which  produces  the  mould  from  which  these  clumsy 
forms  are  made,  is  a  clumsy,  untrained  one.  The  hand 
which  would  give  expression  to  the  thoughts  of  that  mind 
is    equally    clumsy.      It    certainly    multiplies    ugliness. 

A  manufacturer  of  moulded  brick  has  emploved  one 
of  the  greatest  sculptors  in  this  country  to  make  the 
models  for  his  moulds.  What  is  the  result?  A  repro- 
duction at  a  moderate  cost  of  beautiful  decorative  forms. 
The  hand  which  produces  the  moulds  for  the  brick  never 
did  anything  better  when  working  with  the  modelling 
tools,  or  the  chisel  and  hammer.  Thousands  of  these 
brick  are  reproduced  and  sold  at  a  moderate  cost,  whereas 
by  the  method  of  working  directly  with  the  tools,  only  a 
few  feet  of  the  same  decorative  form  could  be  produced 
in    the    same    time,    and    at    a    cost    infinitely    greater. 

Some  would  disassociate  the  idea  of  low  cost  from  the 
artistic.  But  a  form  must  be  artistic  because  it  is  beautiful, 
not    because    it    is    expensive. 

There  are  those  of  us  who  immediately  lose  interest 
in  a  beautiful  form  because  it  is  frequently  reproduced  by 
a  machine.  Such  an  idea  is  not  creditable  to  any  one. 
The  frequency  of  reproduction  of  a  truly  beautiful  design 
does  not  affect  its  beauty  or  its  interest.  The  Greek 
honeysuckle  ornament  has  been  in  use  for  the  past  twenty- 
five  hundred  years,  and  its  repetition  has  had  no  effect 
upon  its  beauty  or  the  appreciation  of  it  by  the  public. 
Certainly  its  reproduction  has  been  largely  through  the  direct 
agencv  of  the  human  hand,  but  that  hand  has  often  been 
as   much    of  a  machine  as    any   device    in   a   machine  shop. 


Fig.   251.  — A   Sixteenth-Century   Doorway. 


MATERIALS    AND    DETAILS.  339 

The  use  of  the  acanthus  leaf  comes  down  to  us  from 
the  early  periods  of  Greek  architecture.  It  was  universal 
in  the  Byzantine  and  the  Roman  architecture.  There  were 
traces  of  it  in  the  Gothic,  and  it  springs  to  new  life  in 
the  Renaissance.  Yet  its  reproduction  by  the  machines 
called  men  in  the  Roman  times  has  never  had  the  effect 
of  lessening  its  interest  in  the  artistic  mind.  A  form 
which  was  reproduced  an  infinite  number  of  times  during 
the  period  of  the  Roman  and  the  Renaissance  architecture, 
and  which  we  see  on  every  hand  to-day,  is  the  egg  and 
dart    moulding. 

Fig.  25 1  shows  a  doorway  of  the  sixteenth  century. 
In  it  the  ambitious  decorative  clayworker  will  find  many 
forms  capable  of  reproduction  through  an  intelligently 
constructed  and  an  artistically  guided  machine  of  his 
own  creation.  If  he  were  to  put  a  clumsy  hand  to  the 
reproduction  of  a  doorway  like  this,  he  would  have  a 
clumsy,  inartistic  result.  If  he  were  to  give  to  a  highly 
refined,  educated  artist  the  task  of  arranging  and  guiding 
the  work  of  the  machine,  he  would  have  a  correspond- 
ingly artistic  result.  The  machine  tool  is  within  certain 
limitations  capable  of  artistic  results  in  the  same  sense  as 
is    the    hand    tool. 

Red  has  been  the  usual  color  of  brick  because  most 
clay  burns  red.  The  improvement  in  the  science  of 
mixing  and  securing  various  colors  has  led  many  to 
consider  whether  or  not  the  use  of  red  brick  for  the 
large  proportion  of  our  best  buildings  is  not  a  thing  of 
the  past.  Buff,  gray,  and  brown  brick  of  various  shades 
are  readily  obtained,  and  are  used  in  the  large  cities  almost 
to    the    exclusion    of    red    brick.      Bricks    with    clouded    and 


340  BEAUTIFUL    HOUSES. 

mottled  surfaces,  and  those  of  differing  proportions,  are 
being-  used.  The  Roman  brick,  which  is  about  an  inch 
and  a  half  thick  by  ten  inches  long,  is  very  pretty.  But 
there  is  a  tendency  among  our  people  to  go  to  extremes 
in    all    these    matters. 

Many  attempts  have  been  made  in  our  country  to 
develop  patterns  with  different-colored  brick  in  the  wall- 
surfaces,  but  as  yet  this  has  not  been  attended  with 
any  great  success.  The  contrasts  have  all  been  too 
strong.  In  France  and  Holland,  where  one  sees  this 
done  to  the  best  advantage,  there  is  only  a  slight  differ- 
ence between  the  varying  colors,  and  by  that  means 
very  pleasing  effects  are  often  secured.  In  recent  years 
the  French  have  undertaken  some  rather  brilliant  work 
with    colored    brick    with    indifferent    success. 


,.»»•"" \  /" <\s  J* ""'Willi 

\ 

|V  ' v  "\  qp  „,, 

1  '"'"; .i.*'1"  "Him i#     '»! »"" 


c)  :>  s • %Mf 


A   Decorative  Motive. 


THE     ARCHITECT. 

CHAPTER     XXXI. 

THE    ARCHITECT. THE    ARCHITECT    AND     THE      HOUSEWIFE.  —  BUSINESS    AND    THE 

ARTS.  COSTS. PROPER    UNDERSTANDING    OF    THE  CLIENT'S  WISHES. PLENTY 

OF     TIME     TO     MAKE     PLANS. 

SAY  what  one  will  about  the  artistic  in  house-build- 
ing, the  architect  must  be  a  business  man.  What 
will  it  cost?  is  a  vital  question  with  the  one  who 
would  build  him  a  house.  The  architect  must  be  able 
to  tell  what  it  will  cost,  and  so  conduct  the  business 
of  house-building  as  to  relieve  the  owner  from  the  care 
and  annoyances  which  are  usually  associated  with 
building. 

Some  years  ago  the  writer  prepared  a  volume  upon 
the  severely  practical  matters  pertaining  to  house-build- 
ing. It  was  based  on  the  conception  that  there  is  a 
dctinite  relation  between  the  work  of  the  housekeeper 
and  that  of  the  architect.  In  it  were  given  plans  of 
houses  of  various  kinds,  most  of  them  being  of  low  cost. 
In  connection  therewith  all  of  the  practical  details  of 
the  house  were  minutely  considered.  The  practical  side  of 
house-building  was  so  fullv  considered  that  little  mention 
was  made  of  the  artistic  side.  In  reading  the  present 
book  one  may  think  that  the  practical  has  been  neglected. 
While   they  have   not  been  especially   mentioned,  the  house- 

341 


342  BEAUTIFUL    HOUSES. 

keeper  and  the  architect  have  been  associated  in  their 
proper  relation  in  connection  with  all  of  the  plans  which 
have  been  presented.  The  especial  mission  of  this  book 
is  to  set  forth  the  relation  of  the  artist  to  house-build- 
ing. It  is  '*  special"  along  its  line,  in  the  same  sense 
that  the  book  on  "  Convenient  Houses "  was  special  in 
its    way. 

The  work  of  the  domestic  architect  is  very  compli- 
cated, involving  a  large  amount  of  special  knowledge  of 
the  many  features  of  house-building.  It  is  the  large 
amount  of  detail  which  has  made  the  practical  work  of 
house-building  very  annoying.  But  system  and  orderly 
methods  remove  much  of  this.  An  architect  properly 
trained  to  his  work  can  tell  the  prospective  builder 
exactly  what  his  house  will  cost  before  he  has  created 
any  other  obligations  than  those  which  are  connected 
with  the  preparation  of  plans.  The  architect  cannot 
tell  at  the  first  interview  what  his  client's  house  will 
cost,  nor  can  he  tell  him  exactly  until  the  plans  are 
finished.  When  the  client  applies  to  the  architect, 
either  in  person  or  by  correspondence,  neither  knows 
exactly  what  is  wanted.  The  process  of  making  plans  is 
a  method  of  determining  this.  The  proper  work  of  the 
architect  is  in  so  forming  these  plans,  and  developing 
the  specifications,  that  all  matters  pertaining  to  the  house 
are  properly  represented  and  set  forth  by  the  plans  and 
specifications.  Such  a  thing  as  an  extra  charge  from  a 
contractor  never  need  occur,  unless  the  client  changes  his 
mind  with  respect  to  some  detail  of  the  building  which 
involves  additional  labor  and  material.  Except  under 
these    conditions,   the     cost     may    be     known    exactly    before 


THE    ARCHITECT.  343 

the  client  signs  his  name  to  one  of  the  building  contracts. 
If  the  business  part  of  the  architect's  office  is  properly 
organized,  it  is  next  to  impossible  that  there  be  anything 
forgotten    or    omitted. 

It  may  be  well  to  indicate  how  it  is  possible  to  think 
of  everything  and  include  everything  in  connection  with 
the  preparation  of  a  set  of  plans,  without  chance  of 
error.  In  a  properly  organized  office,  everything  which 
relates  to  the  business  of  house-building  is  done  from 
forms,  so  that  in  the  preparation  of  specifications,  for 
instance,  they  are  made  up  from  printed  sheets  which 
include  everything  which  may  go  into  a  house.  The 
parts  which  do  not  go  into  the  house  under  immediate 
consideration  are  marked  out  or  crossed  off  from  the 
form.  These  sheets  are  first  handed  to  the  owner,  who 
may  learn  that  he  is  not  to  have  inside  shutters,  or  that 
there  is  no  plastering  in  the  attic;  that  the  floor  in  the 
cellar  is  not  of  brick,  but  of  cement;  that  the  roof  is 
covered  with  shingles,  and  not  with  slate.  In  truth,  the 
client  knowrs  everything  he  is  to  have,  and  there  is  set 
before  him  everything  he  is  not  to  have.  There  is  more 
chance  of  failing:  to  omit  something  than  there  is  of  fail- 
ing  to  include  any  detail.  This  not  only  gives  positive 
and  negative  information,  but  brings  everything  to  the 
attention  of  the  client.  The  specifications  are  made  by 
copving  the  parts  of  the  printed  specifications  not  omitted. 
It  is  only  bv  a  method  of  this  kind  that  mistakes  can  be 
avoided.  When  one  trusts  to  memory  or  general  knowledge 
or  unformulated  experience,  no  matter  how  great,  mistakes 
and  omissions  are  sure  to  occur  on  every  piece  of  work. 
A  plan  of  this    kind    means  the  application   of  rigid,  formal 


344  BEAUTIFUL    HOUSES. 

business  methods  in  an  architect's  office.  Through  their 
use  many  houses  have  been  erected  without  one  dollar 
being  paid  for  extra  work,  and  at  times  settlements  have 
actually  been  made  for  less  than  the  contract  price.  This 
resulted  from  the  omission  of  certain  parts,  or  from  the 
collection    of  over-time    damages. 

One  of  the  most  difficult  features  connected  with  the 
business  part  of  the  architect's  work  is  the  proper  under- 
standing of  the  real  needs  and  requirements  of  the  client. 
Usually  he  does  not  go  to  his  architect  until  a  short 
time  before  he  is  in  need  of  plans.  This  necessitates  haste. 
The  drawings  may  be  never  so  well  made,  and  the 
specifications  never  so  accurately  formed,  yet  the  client 
may  not  have  had  sufficient  time  properly  to  develop 
his  actual  requirements.  It  would  be  much  better  if 
every  set  of  plans  should  be  under  consideration  six 
months  or  a  year  before  they  are  finally  finished.  Any 
conscientious  architect  would  be  pleased  to  carry  forward 
plans  in  this  way.  Not  that  he  would  be  working  on 
them  all  the  time,  but  he  would  have  that  time  to  study 
the   definite    requirements    of  his   client. 

First  there  would  be  a  set  of  sketches  submitted.  In- 
stead of  taking  them  home  and  looking  them  over  in 
the  evening,  as  so  frequently  happens,  there  could  be  a 
week  or  two  for  serious  consideration  on  the  part  of  the 
client.  These  sketches,  being  returned  to  the  office  for 
amendment,  could  be  leisurely  worked  over  again,  and 
again  returned,  and  so  on  many  times.  In  the  end  there 
would  be  what  every  serious  worker  so  much  covets  — 
general  satisfaction  with  all  details.  A  plan  of  operations 
of    this    kind    is    an    education    to    the    architect    as    to     the 


THE    ARCHITECT  345 

definite  requirements  of  the  owner,  and  an  education  to  the 
client  under  special  direction  from  the  architect.  Not 
only  do  the)'  learn  to  know  one  another  much  better, 
and  have  confidence  in  one  another  in  their  business 
relations,  but  more  satisfactory  business  methods  are  thus 
possible  through  the  fulness  of  their  understanding. 
Nearly  every  one  knows  six  months  or  a  year  before  he 
is  to  begin  building,  and  hence  there  is  no  good  reason 
why  this  plan  should  not  in  most  instances  be  carried 
out. 


The  spirit  of  domesticity  is  a  dominant  force  in  our 
time.  The  love  of  home  is  a  sentiment  high  enough  and 
strong    enough    to    form    the    nucleus    of  great    art. 


e> 


The     emotions     which     originate     in    family    attachments 


'& 


and     home     life     have     a    seriousness     and     delicacy     which 
might    belong    to    a    Greek. 

Great  architecture  has  always  been  the  expression  of 
high  sentiment.  Greek  architecture  was  the  expression 
of  an  advanced  intellectual  condition.  Gothic  architecture 
was  developed  from  great  religious  emotion  and  the 
exaltation  of  dawning  intellectual  freedom.  The  Renais- 
sance was  the  result  of  research  without  the  original 
impulse  which  belonged  to  the  architecture  of  Greece,  or 
that  of  the  thirteenth  century.  But  the  architects  of  to-day 
have  encumbered  themselves  with  tradition,  They  have 
studied  histor}-,  and  neglected  its  philosophy.  We  are 
carrving  with  us  the  mere  results  of  Greek  and  Mediaeval 
art.  True  architecture  must  come  from  an  original 
impulse.  Our  opportunity  is  in  home  life.  Our  archi- 
tecture   must    spring    from    the    family,  and    express   all    that 


346  BEAUTIFUL    HOUSES. 

is  beautiful,  tender,  and  ennobling  in  family  love.  It  cannot 
be  of  temples,  great  cathedrals,  or  castles,  because  the 
sentiment  which  developed  these  is  wanting.  It  must  be 
of  the  family.  It  must  relate  to  the  love  of  men  and 
women    and    children,    youth    and    old    age. 

The  world  has  never  had  a  worthier  motive  tor  great 
art.  The  architecture  of  the  thirteenth  century  was  born 
full-strength    out    of  the    sentiment    of  that    time. 

Art  in  building  contains  less  of  vitality  than  any  of 
the  other  arts,  because  it  is  the  one  art  which  rests 
solely  on  the  sentiment  of  the  past.  To  progress  we 
must  deal  with  the  present.  The  thirteenth-century  cathe- 
dral was  perfectly  suited  to  its  practical  demand.  It  was 
decorated  through  the  mind  of  that  time  from  the  flora, 
and  the  imaginative  traditions  touched  by  the  high  senti- 
ment   of  that    period. 

Art  is  not  resuscitation  :  it  is  creation.  The  human 
heart  is  essentially  the  same  that  it  has  been  in  all  great 
periods.  All  that  is  needed  is  a  natural  expression  of  a 
strong    creative    emotion. 

The  home  must  be  suited  to  its  practical  requirements. 
It  must  be  decorated  through  suggestions  which  come 
from  our  fields,  as  seen  by  the  men  of  this  time.  We 
may  draw  from  our  intellectual  resources,  but  we  must 
always  remember  that  our  hearts  beat  in  the  nineteenth 
century. 


A     VERY    PRACTICAL    BOOK." 


—  Pittsburgh   Telegraph. 

CONVENIENT     HOUSES. 

BY     LOUIS     H.    GIBSON,    ARCHITECT, 

Author    of   "Beautiful   Houses" 

CONTAINING  a  great  variety  of  plans,  photographic  designs,  and  artistic  exteriors  and 
interiors  of  Ideal  Homes,  ranging  in  cost  from  $1,000  to  $10,000.     8vo.     $2.50. 

This  volume  offers  a  practical  solution  of  the  vexed  question  of  combining  beauty  with 
convenience  in  low-cost  dwellings.  It  is  a  perfect  revelation  of  what  can  be  done  at  small 
expense. 

Contents    of    the    Book. 

THE  ARCHITECT  AND  THE  HOUSEWIFE.  Labor-saving  devices,  economy,  and 
good  construction,  housekeeping  operations,  modern  conveniences,  plans  that  make  etxra  work,  mis- 
placed houses,  affectation  in  design,  etc.,  etc. 

A  JOURNEY  THROUGH  THE  HOUSE.  Porch,  vestibule,  hall,  long  halls  and  square 
halls,  parlor,  sitting-room,  dining-room,  kitchens,  a  plan,  tittings,  dish-washing  conveniences,  sink, 
and  tables,  china-closet,  pantry,  dough-board,  flour-bin,  refrigerator  arrangements,  ventilation  of  kitchen, 
cellar,  furnace,  coal-bins,  laundry,  stairways,  bedrooms,  closets,  gas-fixtures,  bath-room,  attic,  plumb- 
ing, sewer  connections,  soil-pipe,  water-closet,  simplicity  in  plumbing,  drain  connections,  grease-sink, 
heat  and  ventilation,  the  house  and  its  beauty,  artistic  surroundings,  mantels  and  grates,  wood-carving, 
stained  glass,  quiet  and  light,  external  and  internal  design,  etc.,  etc. 

PLANS  OF  FIFTY  CONVENIENT  HOUSES.  Evolution  of  a  house-plan,  respectable 
dimensions  for  a  moderate  price,  a  small  pocket-book  and  a  large  idea.  "  We  know  what  we  want," 
What  can  be  done  for  $1,600?  One-storv  plans,  side-hall  plans,  miscellaneous  plans,  varying  costs, 
square  plans,  one-chimney  plans,  double  houses,  shingle  houses,  brick  houses,  etc. 

PRACTICAL  HOUSE=BUILDINQ  FOR  THE  OWNER.  Practical  points,  water. 
location,  mason-work,  foundations,  flues,  cisterns,  laying  brick,  colored  bricks,  chimneys,  hollow  walls, 
grates,  cut  stone,  terra-cotta,  carpenter-work,  height  of  stories,  roof,  floors,  soft  and  hard  wood  floors, 
plastering,  gas-piping,  tin-work,  gutters,  painting,  staining,  oil-finishing,  glazing,  cost  of  a  house, 
schedules  of  costs,  what  goes  into  a  house,  cost  details,  etc.,  etc. 

BUSINESS     POINTS     IN      BUILDING.        Low-cost    houses,    method    of    making 
architects'  estimates,  building  by  the  day.  the  safest  plan,  guarding  against  liens. 

HOW     TO     PAY     FOR     A     HOME.       Building  associations,  purchase  of  a  lot,  etc.,  etc. 


contracts, 


Press    Notices. 


The  Advance. 


"  The  house-builder  and  housekeeper  has  proba- 
blv  never  had  so  admirable  a  pandect  of  the  facts 
which  he  desires  to  know  in  planning  for  a  future 
home  as  is  now  presented  to  him  in  'Convenient 
Houses.'  .  .  .  The  mechanical  execution  of  the 
book,  in  illustration,  printing,  and  binding,  is  taste- 
ful and  beautiful." 

The  Builder  and  Wood=Worker. 

"  In  the  section  devoted  to  practical  house-build- 
ing, the  author  is  at  his  best,  writing  with  a  clear- 
ness and  simplicity  of  Style  that  make  his  meaning 
entirely  plain  to  the  non-technical  reader." 

Christian  Intelligencer. 

"  We  heartily  recommend  the  study  of  this  book 
by  those  thinking  of  building  a  house  for  a  home." 

Living  Church. 

"  We  think  a  perusal  of  Mr.  Gibson's  book,  and 
an  examination  of  the  plans  tfiven  therein,  would 
be  of  the  greatest  advantage  to  those  interested  in 
building  'convenient  homes'  for  themselves  or 
others." 

New  York  Home  Journal. 

"  The  book  seems  to  impart  knowledge  about 
everything  concerning  the  house,  from  the  sky-light 
to  the  coal-bin." 


The  Standard. 


"  It  becomes  clear,  as  one  turns  the  pages,  that 
this  one  architect,  at  all  events,  recognizes  the  fact 
that  houses  are  built  to  live  in.  and  that  convenience 
is  quite  as  much  to  be  consulted  ae  beauty,  and  a 
good  deal  more  than  showiness." 

Boston   Transcript. 

"  A  volume  of  remarkable  interest  and  value  in 
these  house-building  days.  .  .  .  The  illustrations 
an-  many  ami  excellent. 

American   Agriculturist. 

"  To  those  of  small  incomes  desirous  of  building 
a  home-  for  their  families,  the  information  contained 
in  these  last  chapters  alone  is  worth  the  price  of  the 
win ile  book." 

Philadelphia  Ledger. 

"The  most  complete  and  practical  of  recent  books 
mi  house-building." 

Indianapolis  News. 

"  Occupies  a  field  of  its  own.  touching  upon  points 
never  before  embraced  in  a  book  of  the  kind." 

New  York  Tribune. 

•■  .V  more  thoroughly  practical  book  is  seldom 
printed."  , 


For  Sale  bv  all  Booksellers,  or  sent  postpaid  by  the  Publishers  on  receipt  of  price. 

T.  Y.  CROWELL    &    CO.,    New    York    and    Boston. 


A/ 


THE  GETTY  CENTER 


IUL  1  5  1953 


